About J-Rocks

Halo halo,
Saya akan posting pertama yang didedikasikan untuk band yang saya mulai j-rock obsesi, dan mereka adalah ketepatan dikenal sebagai 'J-Rock's' (atau yang sebelumnya dikenal sebagai seniman J-Not Telling
Secara teknis tidak theyre 'j-rock' Kayaknya theyre Indonesia, tetapi tidak berarti bahwa mereka sedang 'i-rock' * lol * baik, lirik yang (kebanyakan) di Indonesia tetapi dengan segar j-rock cita rasa. ada sejumlah besar info tentang mereka dalam bahasa inggris, tetapi saya mencoba terbaik untuk menerjemahkan Indo info. Sangat maaf jika saya lewatkan membaca sesuatu! ^ ^ Sekalian ..

Tentang band-singkat sejarah:
J-Rocks diputar percaya penonton yang untuk pertama kalinya pada 9 November 2003. Tidak lama setelah itu pada awal 2004, Jakarta Rockstars memasukkan nescafe Persiapan kompetisi grup band indie di Bandung. Setelah berhasil unggul kompetisi ini, mereka snagged oleh Aquarius Musikindo label dan merilis album pertama mereka 'Topeng Sahabat' [= Topeng Mask, Sahabat = Friend. Masker dari teman? sebuah kiasan yang jelas ^ _ ^] pada bulan Juli 2005. Walaupun wasn'ta hit besar dengan segera, dan kreativitas memenangkan penghargaan apapun, album tersebut layak dan meskipun tidak cukup utama untuk umum penduduk Indonesia, mereka dengan cepat diperoleh di hati kecil [dengan standar indonesia] masyarakat dari orang-orang yang tertarik di Jepang pop sebagai budaya mereka memiliki keistimewaan j-rock suara.
J-Rocks terdiri dari 4 anggota; Iman Taufiq Rahman (Vocalist & gitaris lahir di Jakarta, 19 Juli 1982)-mantan gitaris dari Funky Kopral, Sony Ismail Robbayani (gitar, lahir di Jakarta, 24 September 1983), Swara Wima Yoga (bassist , Lahir di Jakarta 29 November 1981) dan Anton Rudi Kelces (drum, lahir di Jakarta, 17 Agustus 1982.) J-Rocks tidak suka hanya karena mereka adalah musisi besar, songwriters unik dan menyusun perjanjian di setiap hidup kinerja, tetapi juga karena penampilan mereka tidak buruk.
Salah satu kualitas-kualitas yang unik dari band ini yang mungkin kurang dikenal untuk masyarakat umum, yang tidak hanya memiliki dasar penggemar setia, tetapi juga sekelompok slanderers alias Anti-JRS. Banyak diantaranya Anti-JRSers memiliki satu alasan utama untuk hating JRS, yang menjadi musik mereka yang sangat mirip dengan L'Arc ~ en ~ Ciel atau Laruku, band yang sangat populer di jepang yang telah berlangsung selama sekitar 13 tahun-aneh. Bahkan lebih buruk dari itu, mereka cat JRS sebagai plagiarizing Laruku dengan menyalin gaya mereka. Seringkali Anti-JRSer akan mengidentifikasi anggota JRS dengan anggota Laruku menurut instrumen mereka bermain; seperti Sony dengan Ken (Laruku acara) Wima dengan tetsu (Laruku Bassist), Anton dengan Yuki (Laruku Drummer) dan patut paling sering menyerang adalah Iman yang dianggap sebagai "Hyde wannabe" dari gaya pribadinya kepada gaya musik, bahkan suara buatan bernada Iman's juga dibandingkan dengan yang vokalis Laruku, walaupun penuaan, masih dianggap sangat lucu. Dengan semua tuduhan tentang kesamaan antara band, Iman sebagai vokalis dan frontman dari JRS sangat santai tentang mereka, seperti mereka adalah sesuatu yang umum di dunia musik, dan JRS sendiri (khususnya Iman) yang juga penggemar dari Laruku. Untungnya perdebatan antara penggemar dan Anti-JRSers hanya terjadi di forum, Friendster dan digital di dunia.
Pada tahun 2007, JRS album kedua mereka "Roh". Mengapa Roh? Menurut Iman, "karena orang-orang yang mendengar album kami dapat merasa 'semangat' [bara, bersemangat] berniat untuk melakukan hal-hal positif .. 'Untuk album ini mereka memiliki penampilan tamu untuk lagu' Kau Curi Lagi '(Anda mencuri Lagi ) Mendatang muda berbakat dan perempuan gitar [yang terlalu dapat bernyanyi. beberapa orang mendapatkan semua bakat ] Prisa Adinda. Mereka juga pergi ke Jepang untuk film 2 dari video musik untuk album ini dan menabrak sebuah kompetisi untuk sejumlah penggemar (3?) Untuk bergabung dengan mereka dan berada dalam video ( 'Roh', 'Juwita Hati'). Lucky beruntung.
Saat ini theyre wisata Indo, dengan acara di Bandung besok, maka aktivitas di Jogjakarta [yey, i seperti Jogja] hari setelah.
Jadi sekarang untuk Discography:

Topeng Sahabat (2005)

1.Lepaskan Diriku (Diluncurkan Dari Me) 2. Kuingin Kau Untukku (I Want You For Me) Kuingin Kau Untukku (Saya ingin Anda untuk me) 3. Entah Bagaimana (How come..) Entah Bagaimana (Bagaimana datang ..) 4. Into the Silent Ke Diam 5. Topeng Sahabat (Mask of Friend) Topeng Sahabat (Mask dari Teman) 6. Ceria (Cheerful/Carefree) Ceria (lagi / riang) 7. Cahaya-Mu (Your Light) Cahaya-Mu (Light Anda) 8. Berharap Kau Kembali (Hopeful you’ll Return) Berharap Kau Kembali (Harapan Anda akan Kembali) 9. Selamat Tinggal Kekasihku (Farewell my Beloved) Selamat Tinggal Kekasihku (Wada saya Tercinta) 10. Mestinya Ku Akhiri Semua (I Should End It All) Mestinya ku Akhiri semua (akhirnya saya harus semua) 11. Kono Mune Ni (Japanese version of Berharap Kau Kembali) Kono Mune Ni (versi Jepang Berharap Kau Kembali)

Roh (2007)

1. Cobalah Kau Mengerti ((You) Try To Understand) Cobalah Kau Mengerti ((Anda) Coba Untuk Memahami) 2. Spirit Roh 3. Juwita Hati (Lover *term of endearment) Juwita Hati (Lover * istilah dari tindakan yg menunjukkan rasa kasih) 4. Tersesal (Regret) Tersesal (Regret) 5. Kau Curi Lagi (You Steal Again) Feat. Kau Curi lagi (Anda mencuri lagi) ini. Prisa Adinda Prisa Adinda 6. Saatnya Kau Bicara (The Time You Said..) Saatnya Kau Bicara (waktu Anda berkata ..) 7. Mestinya Kau Tau (You Should Know) Mestinya Kau tau (Anda harus tahu) 8. PDKT (PenDeKaTan - approach) PDKT (Pendekatan - pendekatan) 9. Aku Harus Bisa (I Should Can -literally.) Aku Harus Bisa (Jika saya bisa-harfiah.) 10. Semakin Sendiri (More and More Alone) Semakin Sendiri (Lagi dan Lagi Alone)
Im very sorry If I’ve translated anything wrong, or got the wrong sense ^_^ just let me know (nicely) and il change it. Im Jika saya sangat menyesal telah salah diterjemahkan sesuatu, atau mendapatkan salah rasa ^ _ ^ hanya beritahu saya (baik) dan il mengubahnya.
I n M y H umble O pinion: Aku n M H y O umble sayap: After hearing Laruku and various other japanese bands, I dont think JRS sound alot like Laruku at all. Setelah mendengar Laruku dan berbagai band jepang, I dont berpikir JRS suara banyak seperti Laruku di semua. There is however a fine line between influence and plagiarism. Namun ada sebuah perbedaan antara plagiat dan pengaruh. I can understand that they would be influenced by them, there are many Japanese bands that have Laruku moments, and I dont think its a bad thing. Saya dapat memahami bahwa mereka akan dipengaruhi oleh mereka, ada banyak band Jepang yang saat Laruku, dan saya jangan berpikir hal yang buruk. Laruku almost embody the spirit of Japanese pop-rock and it would be virtually impossible to do a j-rock style band without being influenced by such a great talented band. Laruku hampir mewujudkan semangat Jepang pop-rock dan akan hampir mustahil untuk melakukan gaya j-rock band tanpa dipengaruhi oleh semangat besar band berbakat. I hope JRS feel flattered by such a comparison. Saya berharap JRS merasa flattered dengan perbandingan tersebut. If someone told me I sounded like Tetsu I would be beyond happy (its my goal in life to be like him, but I dont want to look like him. Rather look like Toshiya in his blue kimono thing ^^). Jika seseorang mengatakan kepada saya saya terdengar seperti tetsu Saya akan senang luar (dengan tujuan dalam hidup saya untuk lagi, tapi jangan ingin terlihat seperti dia. Melainkan seperti Toshiya dalam hal scorpio biru ^ ^). I will admit however, the guitar intro in Laruku’s Ce’st la vie, does sound similar to Ceria, but seeing as Ceria is now 3 years old, wouldn’t you think the producers and record company’s representing the mega band Laruku would’ve sued J-Rocks by now if they thought they were plagiarizing them? Saya akan memasukkan Namun, gitar diperkenalkan di Laruku's Ce'st la bersaingan, suara tidak mirip dengan Ceria, tetapi melihat sebagai Ceria sekarang 3 tahun, Anda tidak akan berpikir produsen dan merekam perusahaan mewakili mega band Laruku akan telah susu J-Rocks oleh sekarang jika mereka pikir mereka plagiarizing mereka? As far as Im aware they havent, so I think some people need to let go of that and get on with life. Sejauh Im sedeh mereka sadar, sehingga saya pikir perlu beberapa orang yang kita dan bergaul dengan kehidupan. Cest’ la vie everyone. Cest 'la bertanding semua orang. Anyhoo, Well, I saw J-Rock’s in Jogja in 2005 at Liquid (I think). Saya melihat J-Rock di Jogja pada tahun 2005 di cair (saya). They were really good & seemed like a happy bunch. Mereka benar-benar baik & Seperti yang senang tandan. If anyone was there, I was the crazy bule girl jumping about while everyone else was just standing. Jika seseorang itu, saya adalah gila bugil gadis jumping tentang sementara semua orang lain adalah hanya berdiri. *^^* One thing I didnt like much was that the event was sponsored by a cigarette company that gave everyone a free pack of cigarettes as they came in! * ^ ^ * Satu hal yang saya aceh, seperti banyak yang merasa disponsori oleh perusahaan rokok yang memberikan semua gratis pak rokok karena mereka datang! OMG!… The smoke was thick as they started playing. Bedazzle ... The asap tebal yang telah mereka mulai bermain. Poor Iman, I’d hate to sing through that. Miskin Iman, saya benci untuk bernyanyi melalui yang. (Im a non-smoker. In NZ, something like that happening would cause a major outcry and the sacking of some politician! lol) Couldnt get the smell of smoke out of my room/clothes/hair for days. (Im non-perokok. Di NZ, seperti yang terjadi akan menimbulkan protes besar dan perampokan dari beberapa politikus! Lol) Couldnt mendapatkan bau asap keluar dari kamar saya / pakaian / rambut untuk hari. Ive listened alot to both albums, and think at a pinch I like the 1st album better. Tu didengarkan banyak untuk album keduanya, dan berpikir keadaan darurat di Saya suka 1st album yang lebih baik. I think because the first album had a couple of dark, lil bit heavy stuff on it, whereas the 2nd album is quite light the whole way through. Saya rasa karena album pertama telah beberapa gelap, Lil bit berat pada item tersebut, sedangkan 2nd album cukup ringan seluruh melalui jalan. Theyre both good albums tho, they all play their part really well, and Prisa does an excellent job on Kau Curi Lagi. Theyre baik album kecelakaan, mereka semua bagian mereka bermain sangat baik, dan tidak Prisa yang sangat baik pada pekerjaan Kau Curi Lagi. So, if youre still interested after this massive rant, heres a few songs I like and recommend (I like most but il try be extra picky). Jadi, jika anda masih tertarik setelah besar ini berteriak-teriak, a beberapa lagu seperti saya dan menyarankan (seperti kebanyakan tetapi saya mencoba il berlaku ekstra picky). From Topeng Sahabat: Lepaskan Diriku -fun, rocky, good all-round song. Dari Topeng Sahabat: Lepaskan Diriku-menyenangkan, batu, baik semua sepanjang lagu. Kuingin Kau Untukku - pretty lyrics, nice soft ballad. Kuingin Kau Untukku - cantik lyrics, bagus lunak bawah. Ceria - was on MTVIndo alot at the time, happy and catchy. Ceria - adalah pada MTVIndo banyak pada waktu, senang dan menarik. Cahaya-Mu -Kinda dark sounding, but I really like the driving guitar and bass sound. Cahaya-Mu-keras setiap keluaran gelap, tetapi saya benar-benar seperti mengemudi gitar dan bas suara. Selamat tinggal Kekasihku - very sad but optimistic lyrics, lovely melody with bass. Selamat tinggal Kekasihku - sangat sedih tetapi optimis lirik, melodi cantik dengan bas. Berharap Kau Kembali/Kono Mune Ni -worth a look, unique sound. Berharap Kau Kembali / Kono Mune Ni-patut melihat, suara unik. From Spirit: Cobalah Kau Mengerti, I really like the chorus and its fun to sing to. Dari Roh: Cobalah Kau Mengerti, saya benar-benar seperti paduan suara dan menyenangkan untuk bernyanyi dengan. Spirit, nice lyrics if you ignore the little bit weird english ^^, great melody. Roh, lirik bagus jika Anda mengabaikan sedikit agak aneh bahasa inggris ^ ^, melodi besar. Juwita Hati - cute lyrics, nice jazzy feel. Juwita Hati - lirik lucu, bagus merasa ramai. Kau Curi Lagi, also a great one to sing to, especially if you can find someone to duet with you ^^ best song on the album methinks. Kau Curi Lagi, juga yang besar untuk satu bernyanyi dengan, terutama jika Anda dapat menemukan seseorang untuk duet dengan Anda ^ ^ lagu terbaik di album abdi. What else can I say.. Apa lagi yang bisa saya katakan .. oh, the j-rock look is awesome - stick with it please! hii, j-rock yang terlihat adalah main - tetap menggunakannya silakan! Men in make-up are very hot. Laki-laki di make-up yang sangat panas. *LOL* & selalu semangat ^^ * LOL * & selalu semangat ^ ^
Special Credit Goes To …. Khusus Untuk Kredit Goes .... http://72.14.235.104/translate_c?hl=id&sl=en&u=http://jrockstars.multiply.com/journal&prev=/search%3Fq%3Dall%2Babout%2Bhistory%2Bof%2Bj-rock%2Bindonesian%26hl%3Did&usg=ALkJrhgSPxJPbkOtHrFVP5i8PTRX4LRwZA http://72.14.235.104/translate_c?hl=id&sl=en&u=http://jrockstars.multiply.com/journal&prev=/search%3Fq%3Dall%2Babout%2Bhistory%2Bof%2Bj-rock%2Bindonesian%26hl%3Did&usg=ALkJrhgSPxJPbkOtHrFVP5i8PTRX4LRwZA This is where I got the majority of material that I did a kind of indirect translation of. Di sinilah saya sebagian besar bahan yang saya lakukan jenis terjemahan langsung. Thanks for the good info guys & keep up the good work! Terima kasih untuk kebaikan info guys & Bloodsucker! http://72.14.235.104/translate_c?hl=id&sl=en&u=http://www.j-rockstar.com/site/&prev=/search%3Fq%3Dall%2Babout%2Bhistory%2Bof%2Bj-rock%2Bindonesian%26hl%3Did&usg=ALkJrhifRSzy3XRWYM6T_LE61q9tUitnPw http://72.14.235.104/translate_c?hl=id&sl=en&u=http://www.j-rockstar.com/site/&prev=/search%3Fq%3Dall%2Babout%2Bhistory%2Bof%2Bj-rock%2Bindonesian%26hl%3Did&usg=ALkJrhifRSzy3XRWYM6T_LE61q9tUitnPw Official website of J-Rocks where you can find all the latest news tidbits, lyrics, join the club, and you can book them for your next event. Situs resmi dari J-Rocks di mana Anda dapat menemukan semua berita terbaru unreasoned, lirik, bergabung dengan klub, dan Anda dapat buku mereka untuk acara Anda berikutnya. (Wonder how much they cost… great if they can play my wedding next year! <3)>

Lirik L'Arc~en~Ciel (Smile : 2004)

Laruku SMILE album lyrics (released on 2004.03.31)

01. 接吻 (kuchidzuke) 02. READY STEADY GO 03. Lover Boy 04. Feeling Fine 05. Time goes on 06. Coming Closer 07. 永遠 (eien) 08. REVELATION 09. 瞳の住人 (hitomi no juunin) 10. Spirit dreams inside 2004 L'Arc～en～Ciel Official Site


01. 接吻 (kuchidzuke)
(a kiss)
Romaji by: cori

kuchidzuke o kawasou ni itsuwari o hazushi
And you're burning with desire, give in to me
And I feel it, your desire, show me now

haitoku no aji ni miserareta hitomi
And you're burning with desire, give in to me
And I feel it, your desire, show me now

shinjitsu e te o nobase mayowazu yuuwaku no kajitsu e to

sekai wa tokeau iro... yume no saki ni michibiite
kirameku honoo wa ima sono mune e to dakarete yuku

nee kimi no ai ga hoshii

kanadeau tamashii no utagoe kodou ga kyoumei suru

sekai wa tokeau iro... yume no saki ni michibiite
anata ga kokoro wo ima tataite iru... maboroshi de ii
sono mune e to dakarete yuku

mou boku wa nido to kaeranai

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02. READY STEADY GO
Romaji by: cori

(ARE YOU READY?)

* READY STEADY CAN'T HOLD ME BACK
READY STEADY GIVE ME GOOD LUCK
READY STEADY NEVER LOOK BACK
LET'S GET STARTED READY STEADY GO

fukitonde yuku fuukei korogaru you ni mae e
kurushimagire demo hyouteki wa mou minogasanai

ate ni naranai chizu yaite shimaeba ii sa
uzumoreta shinjitsu kono tenohira de tsukamitorou

** muchuu de hayaku kakenukete kita
urusai kurai ni harisakesou na kodou no takanari
hibiite yonde iru kimi no koe
koko de tachidomaru you na jikan wa nai sa
READY STEADY GO

kazoekirenai kizu kakaekonde itemo
chotto ya sotto ja tamashii made wa ubawasenai
ano oka no mukou de kimi ni deaeta nara
nani kara hanasou sonna koto bakari omou yo

** repeat

(YEAH, ARE YOU READY?)

* repeat

kokoro wa hashiru ano sora no shita
karamawari suru kimochi ga sakebidasu no wo tomerarenai
kimi made todoke kitto ato sukoshi
atsuku hizashi ga terasu kono michi no mukou
READY STEADY GO
PLEASE. TRUST ME.

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03. Lover Boy
Romaji by: cori

atsuku me wo sumashite kimi to ajiwaiaou
Dream on till night, be sailin' on your life
tonight, want your blood

fukaku kande ima toraete iru yo
dakiai aou I'm a lover boy

kodoku wa mayakashi nagasareru mama ni
Wonder tonight, be getting your jaded heart
tonight, shaking the blood

* sorou kokyuu kara ima sora made yuku yo
kowasu hodo ni cause I'm a lover boy
yasashiku sasoidashite kimi no oku e yukou
subete miseyou I'm a lover boy

Don't be shy, show your love! show your love!
Don't be ignorant, show your colors! show your colors!
Don't let me know your lie, your lie!
Stay tonight till the night, next night!

tonight, shaking!
tonight, looking for the blood!

fukaku kande ima toraete iru yo
dakiai yoou cause I'm a lover boy
afuredashiteku boku wo nokosazu nomihoshite
tokete iyou I'm a lover boy

sorou kokyuu kara ima sora made yuku yo
kowasu hodo ni cause I'm a lover boy
yasashiku sasoidashite kimi no oku e yukou
subete ageyou I'm a lover boy

(I'm a Lover!)

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04. Feeling Fine
Romaji by: cori

* Are you feeling fine?
nemurenai yoru ni wa kimi no maboroshi ga
She said, "Loving you made me happy everyday"
ano koro to onaji sa mujaki na kao de hanashikakenaide

tsunagatte itemo yokan shiteta kara saisho kara tabun
tooi kako no koto sa oshiete kureta wakare no imi

itsu ni nareba ito wo tachikiri kimi wo norikoeru?

Are you feeling fine?
nagai michi no tochuu de sayonara no kawari ni
She said,"Loving you made me happy everyday"
nanigoto mo nai ka no you sekai wa mawaru boku wo nokoshite

kagiri naku jiyuu... tsukaenai kurai jikan wa tsukinai
harewataru hibi ni tozashite itemo jiyuu dakedo

ude wo nobashi DOA wo hiraite wasurekaketa noni...

* repeat

binetsu karuku dokoka kimi wo...

imagoro kitto ki ni mo tomezu ni kimi wa yume no naka

Are you feeling fine?
muda na teikou wa yamete ashita e to mukaou
I said,"Loving you made me happy everyday"
itsu no ma ni ka nemuri ni togirete kieta egao no mama de

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05. Time goes on
Romaji by: cori

ano zawameki mada kikoeru?
ima kono mama kono toki wo tometakute

yawarakana hibi tsutsumarete subete ga mabushisugita

hajime kara waketteta hazu na noni
toritome no nai kotoba dake ga munashiku hibiku

mada nemutte kono yume mitsudzuketai

ano kaze ni mau kareha-tachi kokoro ni furitsumotte

itsumademo anata ga kienakute
hikitomenai yo ima koko kara subete ga kawaru

kitto kimi ga erabu michi no saki ni wa
mabayui hikari ga afurete iru
kimi no tame nara doukeshi ni natte aruite yuku yo
sono egao kesanaide

hajime kara waketteta hazu na noni
tomadoi wa kisetsu wo tozasu kara
yumemiteta no wa boku no hou sa
subete wa shiroi awa no you ni ukande kieta

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06. Coming Closer
Romaji by: cori

* Coming closer
Hurry on, hurry on time 　It's going so fast
Hurry on, I can't save you
Can't slow it down 　You know this is your fate
Are you feeling lonely? 　So lonely, lonely
Cry to the wind

furisosogu hikari wo abi te o nobasu dokomademo takaku
tada kimi wa kaze ni yurarete mitsumete wa hakanaku hohoemu
nemuri no toki wo shitteru no?

* repeat

me wo tojita kimi ga kirei de unmei ni boku wa sakenda
afuredasu nagare ni nomare tachitsukusu nasu sube mo nakute
kono te wa kimi wo iyasenai?

* repeat

Cry to the wind
I can save you

isoide yukeba haha naru kimi ni...

Coming closer
Hurry on, hurry on time　 It's going so fast
Hurry on, I can't save you
Can't slow it down　 You know this is your fate
Are you feeling lonely?　 So lonely, lonely, lonely,

No one hears, no one hears you
No one cares what you do
Can't slow it down　 You know this is your fate
Are you feeling lonely? 　So lonely, lonely
Cry to the wind

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07. 永遠 (eien)
(eternity)
Romaji by: cori

nami ga yosete wa kaesu kono ashimoto ni
tooku tsuki to hashagu kimi no kobune wa
sotto yurameite boku no hou e to

setsunai kurai kanjitemo naze?
koe ni naranai itoshisa yo
kitto eien no omoi

amai hada ni furete chi ga nagarekomu
sore wa yawarakana netsu wo obite
kono mune no soko wo mitashiteku yo

kimi ni wa itsumo takusan no ai
sosogikonde agetai yo
ima, eien wo negau

hoshizora shukufuku shite deai wo terasu yo
...totemo kirei sa

uzumaku hoshi no michibiki wa mahou
dare ni kansha sureba ii?
zutto kono koi wo kimi ni
eien wo sasageyou
sasageyou

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08. REVELATION
Romaji by: cori

42(yonjuu-ni)kkagetsu no eien ni kansha
jiyuu wo yurusu yasashisa
shinjitsu wo atae yume wo itadakou
kindan no aji wo shiritai?

* yuigadokuson revelation kara o nugase
yuigadokuson revelation kara o nugase
aimai na risou risou o nakuse
ai wo shimese shimese imasugu

kowagaranaide uso wa tsukanai
juu no oukan wo miseyou
shinjiru mono yo subete yudanete
koe o ageru toki da

* repeat

yuigadokuson revelation imezu mama ni
yuigadokuson revelation imezu mama ni
* repeat
aimai na risou risou wo nakuse
ai wo shimese shimese imasugu

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09. 瞳の住人 (hitomi no juunin)
(the person in your eyes)
Romaji by: cori

kazoekirenai... demo sukoshi no saigetsu wa nagare
ittai kimi no koto wo
dore kurai wakatteru no kana?
yubisaki de chizu tadoru you ni wa
umaku ikanai ne
kidzuite iru yo fuan sou na kao
kakushiteru kurai
isogiashi no ashita e to teikou suru you ni
kakemawatte itemo fushigi na kurai...
kono mune wa kimi wo egaku yo

miagereba kagayaki wa iroasezu afurete ita
donna toki mo terashiteru
ano taiyou no you ni nareta nara

mou sukoshi dake kimi no nioi ni... dakarete itai na+
soto no kuuki ni kubiwa o hikare
boku wa se wo muketa
shiroku nijinda
tameiki ni shirasareru toki wo
kurikaeshinagara futo omou no sa...
naze boku wa koko ni iru n darou?

* soba ni ite zutto kimi no egao wo
mitsumete itai
utsuri yuku shunkan wo sono hitomi ni sunde itai

dokomademo odayaka na shikisai ni irodorareta
hitotsu no fuukeikan no naka
yorisou you ni toki o tomete hoshii eien ni

* repeat

itsu no hi azayaka na kisetsu e to
tsuredasetara
yuki no you ni sora ni saku hana no moto e...
hana no moto e

Back to top


10. Spirit dreams inside
Lyrics & music: Hyde

I wake from a nightmare now
In the day it haunts me
It slowly tears me apart
With dreams of a distant love
I'm a wandering satellite

Somewhere in the wasteland
I see you smiling at me
A vision out of my dreams
Will everything change?
Take the pain away
Lead me with your light

Heading for the sun
Leave the sadness behind
Crossing oceans dry

My world spinning out of time
Won't somebody stop me?
I may be losing my way
Will you make it right?
Take the pain away
Hear me as I cry

Heading for the sun
Leave the sadness behind
Crossing oceans dry
Deep inside I go
Spirit dreams inside

What can I do, I ask ?
There's nothing left to say
What can I do, I ask ?
There's nothing left to say
Why am I here ?
Why am I lost ?
Where is love ?
Lead me with your light

Heading for the sun
Leave the sadness behind
Crossing oceans dry
Deep inside I go
Heading for the sun
Leave the sadness behind
Crossing oceans dry
Deep inside I goSpirit dreams inside

Lirik Avenged Sevenfold (A7X)

Bat Country

He who makes a beast out of himself Gets rid of the pain of being a man Caught here in a fiery blaze, won't lose my will to stay. I tried to drive all through the night, The heat stroke ridden weather, the barren empty sights. No oasis here to see, the sand is singing deathless words to me. Can't you help me as I'm startin' to burn (all alone). Too many doses and I'm starting to get an attraction. My confidence is leaving me on my own (all alone). No one can save me and you know I don't want the attention. As I adjust to my new sights the rarely tired lights will take me to new heights. My hand is on the trigger I'm ready to ignite. Tomorrow might not make it but everything's all right. Mental fiction follows me; show me what it's like to be set free. Can't you help me as I'm startin' to burn (all alone). Too many doses and I'm starting to get an attraction. My confidence is leaving me on my own (all alone). No one can save me and you know I don't want the attention. So sorry you're not here I've been sane too long my vision's so unclear. Now take a trip with me but don't be surprised when things aren't what they seem. Caught here in a fiery blaze, won't lose my will to stay. These eyes won't see the same, after I flip today. Sometimes I don't know why we'd rather live than die, We look up towards the sky for answers to our lives. We may get some solutions but more just pass us by, Don't want your absolution cause I can't make it right. I'll make a beast out of myself, gets rid of all the pain of being a man. Can't you help me as I'm startin' to burn (all alone). Too many doses and I'm starting to get an attraction. My confidence is leaving me on my own (all alone). No one can save me and you know I don't want the attention. So sorry you're not here I've been sane too long my vision's so unclear. Now take a trip with me but don't be surprised when things aren't what they seem. I've known it from the start all these good ideas will tear your brain apart. Scared but you can follow me I'm too weird to live but much too rare to die.


Beast and The Harlot


This shining city built of gold, a far cry from innocence There's more than meets the eye round here look to the waters of the deep. A city of evil There sat a seven-headed beast, ten horns raised from his head Symbolic woman sits on his thrown but hatred strips her and leaves her naked. The Beast and the Harlot. She's a dwelling place for demons, she's a cage for every unclean spirit every filthy bird And makes us drink the poisoned wine to fornicating with our kings. Fallen now is Babylon the Great. The city dressed in jewels and gold, fine linen, Myrrh and pearls Her plagues will come all at once as her mourners watch her burn. Destroyed in an hour Merchants and captains of the world, sailors navigators too Will weep and mourn this loss with her sins piled to the sky The Beast and the Harlot. The day has come for all us sinners, if your not a servant you'll be struck to the ground. Flee the burning, greedy city looking back on her to see there's nothin' around. I don't believe in fairytales and no one wants to go to Hell, but we made the wrong decision And it's easy to see. Now if you wanna serve above or be a king below with us your Welcome to the city where your future is set forever.


Afterlife


Like walking into a dream, so unlike what you've seen so unsure but it seems, ’cause we’ve been waiting for you Fallen into this place, just giving you a small taste of your afterlife here so stay, you'll be back here soon anyway I see a distant light, but girl this can't be right Such a surreal place to see so how did this come to be Arrived too early And when I think of all the places I just don't belong I've come to grips with life and realize this is going too far I don't belong here, we gotta move on dear escape from this afterlife ’Cause this time I'm right to move on and on, far away from here A place of hope and no pain, perfect skies with no rain Can leave this place but refrain, ’cause we've been waiting for you Fallen into this place, just giving you a small taste of your afterlife here so stay, you'll be back here soon anyway This peace on earth's not right (with my back against the wall) No pain or sign of time (I’m much too young to fall) So out of place don't wanna stay, I feel wrong and that's my sign I've made up my mind Gave me your hand but realize I just wanna say goodbye Please understand I have to leave and carry on my own life I don't belong here, I gotta move on dear escape from this afterlife ’Cause this time I'm ready to move on and on, far away from here Got nothing against you and surely I'll miss you This place full of peace and light, and I’d hope you might take me back inside when the time is right Loved ones back home all crying ’cause they're already missing me I pray by the grace of God that there's somebody listening Give me a chance to be that person I wanna be (I am unbroken; I’m choking on this ecstasy) Oh Lord I'll try so hard but you gotta let go of me (Unbreak me, unchain me, I need another chance to live) *Solo* (Screaming) (Laughing) I don't belong here, I gotta move on dear escape from this afterlife ’Cause this time I'm ready to move on and on, far away from here Got nothing against you and surely I'll miss you This place full of peace and light, and I’d hope you might take me back inside when the time is right


A Little Piece Of Heaven


Before the story begins, is it such a sin, for me to take what's mine, until the end of time We were more than friends, before the story ends, And I will take what's mine, create what God would never design Our love had been so strong for far too long, I was weak with fear that something would go wrong, before the possibilities came true, I took all possibility from you Almost laughed myself to tears, conjuring her deepest fears Must have stabbed her fifty fucking times, I can't believe it, Ripped her heart out right before her eyes, Eyes over easy, eat it eat it eat it She was never this good in bed even when she was sleepin' now she's just so perfect I've never been quite so fucking deep in it goes on and on and on, I can keep you lookin' young and preserved forever, with a fountain to spray on your youth whenever ’Cause I really always knew that my little crime would be cold that's why I got a heater for your thighs and I know, I know it's not your time but bye, bye and a word to the wise when the fire dies you think it's over but it's just begun but baby don't cry You had my heart, at least for the most part ’cause everybody's gotta die sometime, we fell apart let's make a new start ’cause everybody's gotta die sometime yeah but baby don't cry Now possibilities I'd never considered, are occurring the likes of which I'd never heard, Now an angry soul comes back from beyond the grave, to repossess a body with which I'd misbehaved Smiling right from ear to ear Almost laughed herself to tears Must have stabbed him fifty fucking times I can't believe it Ripped his heart out right before his eyes Eyes over easy Eat it eat it eat it Now that it's done I realize the error of my ways I must venture back to apologize from somewhere far beyond the grave I gotta make up for what I've done ’Cause I was all up in a piece of heaven while you burned in hell, no peace forever ’Cause I really always knew that my little crime would be cold that's why I got a heater for your thighs and I know, I know it's not your time but bye, bye and a word to the wise when the fire dies you think it's over but it's just begun but baby don't cry You had my heart, at least for the most part ’Cause everybody's gotta die sometime, we fell apart Let’s make a new start ’Cause everybody's gotta die sometime yeah But baby don't cry I will suffer for so long (What will you do, not long enough) To make it up to you (I pray to God that you do) I'll do whatever you want me to do (Well then I’ll grant you a chance) And if it's not enough (If it’s not enough, If it’s not enough) If it's not enough (Not enough) Try again (Try again) And again (And again) Over and over again We’re coming back, coming back We’ll live forever, live forever Let’s have wedding, have a wedding Let’s start the killing, start the killing Do you take this man in death for the rest of your unnatural life? (Yes, I do.) Do you take this woman in death for the rest of your unnatural life? (I do.) I now pronounce you... ’Cause I really always knew that my little crime would be cold that's why I got a heater for your thighs and I know, I know it's not your time but bye, bye And a word to the wise when the fire dies you think it's over but it's just begun but baby don't cry You had my heart, at least for the most part ’Cause everybody's gotta die sometime, we fell apart Let’s make a new start ’Cause everybody's gotta die sometime yeah But baby don't cry


Avenged Sevenfold - Critical Acclaim

Be quiet, you might piss somebody off Like me motherfucker, you've been at it for too long While you feed off all this insecurityYou stand in front of me and bite the hand that feeds (Self-righteousness is wearing thin)Lies inside your head your bestfriend (I'll bleed but not for fellow man)Broken glass, your fake reflection Telling them its all for something real Dont forsake the words you speakYou've gone too far, acclaimSo how does it feel to know that someones kid in the heart of americaHas blood on their hands, fighting to defend your rightsSo you can maintain the lifestyle that insults this family's existanceWell, where I'm from we have a special salute we wave high in the airTowards all those pompous asses who spend their days pointing fingersFuck youBe quiet, you might piss somebody offLike the heartbeat of this country when antagonized too longI'll be damned if you count me in As part of your generous hypocracy collected in a maze(Tabloid gossip, we want less real)There's no need for us to bury you(Selfish agenda, once again)Right this way, deter your own graveTelling them its all for something real Dont forsake the words you speakYou've gone too far, acclaimAll the way from the east to the west We've got this high society looking down on this very foundationConstantly reminding us that our actions are the cause of all their problemsPointing the fingers in every direction Blaming their own nation for who wins elections They've never contributed a fucking thing to the country they love to criticizeExcuse the obscene, ignore the untrueDepictions we see, try and get throughAnd many mistakes cant hurtI'm not the last but I sure ain't the firstBe quiet, you might piss somebody off(Self-righteousness is wearing thin)Lies inside your head your bestfriend (I'll bleed but not for fellow man)Broken glass, your fake reflection Telling them its all for something real Dont forsake the words you speakYou've gone too far, acclaim

Lirik L'Arc~en~Ciel (All)

Jiyuu Eno Shoutai
by Larc-en-ciel ( 160 views)
[ print lyric | tell a friend ]
________________________________________


kousou eno yuwaku jutai ni sasaya ku
osae teru jyoutai jiyuu eno shoutai

ashidori wa osoku nakayubi wa haya ku
fukigen na hyoujyou te ni oenai shoujyou

isoi de kimi eno meiro wo kake mawaru
dokoe iku ka wakatteta keredo
jyama dake wa shinaide kureru?

kanashii hodo kimi ni tsutawara nai
kono kimochi taisetsu ni trank ni tsume te

mezawari na kyujitsu honpou na kajitsu
ima dake tokubetsu yuruse yo dokuzetsu

tonikaku machijyu no gensou wo oikoshi
sukoshi demo kimi ni

aitai noni itsumo umaku ikanai
demo negau kyou koso wa nerai wo sadame
sukima wo nuke te egawo no kanatae

mou nidoto ima wa modora nai
oikosu kako azawarau youna mirai mitsumeta mama

konnanimo sobani itemo toku
ne dareka jiyuu eno shoutai wo

aitai noni itsumo umaku ikanai
demo negau kyou koso wa nerai wo sadame
sukima wo nuke te egao no kanatae




Honey
by L'arc en Ciel ( 1063 views)
[ print lyric | tell a friend ]
________________________________________


zutto nagameteita
tooku osanai koro kara
ima mo iroaseta sono keshiki wa
masshiro na kabe ni kazatte aru
kawaita kaze o karamase
anata o tsureteku nosa
honey so sweet kagirinai yume o
kono ryoote ni tsukande
korokatte yuku michi de
sukoshi ikareta dakesa
fukai itami wa torenaikedo
sonna sabishii me o shinaide
kawaita kaze o karamase
anata o tsureteku nosa
honey so sweet shinjite hoshii
kono sekai ga uso demo
I want to fly waiting for sunrise
itsudemo itsudemo
amai amai egao ni toketeitai
ummei ga boku o tsukande
atari wa kasundeku kedo
fusaganaide kikoeru daroo
ano basho ga yonderu
kawaita kaze o karamase
anata o tsureteku no sa
honey so sweet kagirinai yume o
kono ryoote ni tsukande

I want to fly waiting for sunrise
I want to fly waiting for sunrise


Stay Away
by L'arc en Ciel ( 259 views)
[ print lyric | tell a friend ]
________________________________________


Nuke dashita daichi de
te ni ireta no wa jiyuu
maybe lucky maybe lucky
I dare say I'm lucky

reeru no ue ni sotte
doko made yukeru kana
maybe lucky maybe lucky
I dare say I'm lucky

yakimashi no sekai ni wa hikarenai kara
kimi no mirai wa acchi
saa trying trying in yourself

causes stain stay away
causes stain stay away

massara na taiyou wa
dare ni mo furi sosogu
maybe happy maybe happy
I dare say I'm happy

urusaku iwanaide ne
shizunde shimau kara
maybe happy maybe happy
I dare say I'm happy

karamitsuku sekai ni wa unzari nano sa
kagefumi shitenaide
saa trying trying in yourself

causes stain stay away
causes stain stay away
causes stain stay away
right away on! BOTHER ME

umarenagara boku wa muhou jyoutai sa
ishi koro korogashi
saa trying trying in myself

causes stain stay away
causes stain stay away
causes stain stay away
right away ...

ukabu kumo no you ni dare mo boku o tsukamenai
nani mo kamo o kowashi jiyuu no moto ni umareta


Blurry Eyes
by L'arc en Ciel ( 869 views)
[ print lyric | tell a friend ]
________________________________________


tooku no kaze wo mi ni matou anata ni wa
todokanai kotoba narabete mite mo
mata shisen wa dokoka mado no mukou

kawaranai yokan wa tsuzuiteiru
ano hibi sae kumotte...

kago no naka no tori no you na utsuro na me ni
fureteiru gogo no hizashi wa maru de
anata wo soto e sasou hikari

kawaranai yokan wa tsuzuiteiru
ano hibi sae kumotte shimau

meguri kuru toki ni yakusoku wa ubaware sou
kono ryoute sashi nobete mo kokoro wa hanarete

Why do you stare at the sky
with your blurry eyes?

meguri kuru toki ni yakusoku wa ubaware sou
kono ryoute sashi nobete mo kokoro wa hanarete

meguri kuru toki ni taisetsu na hito wa mou...
furi muita sono hitomi ni chiisana tameiki

Your blurry eyes... your blurry eyes
Your blurry eyes... kokoro wa
Your blurry eyes... hanarete
Your blurry eyes... yuku


Jojoushi
by L'arc en Ciel ( 952 views)
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________________________________________


kisetsu wa iro wo kaete ikudo megurou to mo
kono kimochi wa karenai hana no you ni yurameite
kimi wo omou

kanadeau kotoba wa kokochiyoi senritsu
kimi ga soba ni iru dake de ii
hohoenda hitomi wo nakusanai tame nara
tatoe hoshi no matataki ga mienai yoru mo

furisosogu komorebi no you ni kimi wo tsutsumu
sore wa boku no tsuyoku kawaranu chikai
yume nara yume no mama de kamawanai
ai suru kagayaki ni afure asu e mukau yorokobi wa
shinjitsu dakara

* The love to you is alive in me. wo- every day for love.
You are aside of me wo- every day.

nokosarete kanashii kioku sae sotto
kimi wa yawaragete kureru yo
hashagu you ni natsuita yawarakana kaze ni fukarete
nabiku azayaka na kimi ga boku wo ubau

kisetsu wa iro wo kaete ikudo megurou to mo
kono kimochi wa karenai hana no you ni
yume nara yume no mama de kamawanai
ai suru kagayaki ni afure mune wo someru
itsumademo kimi wo omoi

* repeat


Feeling Fine
by L'arc en Ciel ( 359 views)
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________________________________________


Are you feeling fine?
Nemurenai yoru ni wa kimi no maboroshi ga...
She said, "Loving you made me happy everyday"
Ano koro to onaji sa mukaji na kao de hanashikakenaide

Tsunagatteite mo yokan shiteta kara saisho kara tabun
Tooi kako no koto sa oshietekureta wakare no imi

Itsu ni nareba ito wo tachikiri kimi wo norikoeru?

Are you feeling fine?
Nagai michi no tochuu de sayonara no kawari ni
She said, "Loving you made me happy everyday"
Nanigoto mo nai ka no you sekai wa mawaru boku wo nokoshite

Kagirinaku jiyuu... Tsukaenai kurai jikan wa tsukinai
Harewataru hibi ni tozashiteite mo jiyuu dakedo

Ude wo nobashi DOOR wo hiraite wasurekaketa no ni...

Are you feeling fine?
Nemurenai yoru ni wa kimi no maboroshi ga...
She said, "Loving you made me happy everyday"
Ano koro to onaji sa mukaji na kao de hanashikakenaide

Binetsu karuku doko ka kimi wo...

Imagoro kitto ki ni mo tomezu ni kimi wa yume no naka

Are you feeling fine?
Muda na teikou wa yamete ashita e to mukaou
I said, "Loving you made me happy everyday"
Itsu no ma ni ka nemuri ni togirete kieta egao no mama de



Evergreen
by L'arc-En-Ciel ( 829 views)
[ print lyric | tell a friend ]
________________________________________


I lie awake beside the windowsill

Like a flower in a vase

A moment caught in glass
The rays of sunlight come and beckon me

To a sleepy dreamy haze

A sense of summer days

If only I could stop the flow of time

Turn the clock to yesterday

Erasing all the pain

I've only memories of happiness

Such pleasure we have shared

I'd do it all again

This scenery is evergreen

As buds turn into leaves, the colours live and breathe

This scenery is evergreen

Your tears are falling silently

So full of joy, you are a child of spring

With a beauty that is pure

An innosence endures

You flow right through me like a medicine

Bringing quiet to my soul

Without you I'm not whole

This scenery is evergreen

I need you far too much , I long to feel your touch

This scenery is evergreen

You've always been so dear to me

This scenery is evergreen

It sorrow at the sight of seeing you so sad

This scenery is evergreen

I wish that I could dry your tears

The bells have rung, the time has come

I cannot find the words to say my last goodbye

This scenery is evergreen

You've always been so dear to me


NEW WORLD

Kokoniaru tashika na riaritei
Furikaeru kinou nante kudaranai
Togireru nai sora wo dokomademo
Kage sae mo utsuranai sekei e

Kensou ni magirete todoita kakusei nokoe
(Stand up for your final choice! Now the time of fate has come!)

Yami o sai te! Afure dashita! Hikari tsukami kakage ro
I’m awakening in the new world!

Sono te o nobashite kuretara
Ima sugu kimi wo tsure te ikeru
Dare yorimo takaku ukande teniire ta mujuuryoku chitai e…

Kaihou no byouyomi kidu ita kakusei no koe!
(Stand up for your final choice! Now the time of fate has come!)
Togi suma shita tsubasa hiroge kaze wo atsume tobi tate!
Abaru ru kodou toki wo ko ete hibike!
I’m awakening in the new world

Hizumu zanzou toke te nagareteiku
(Stand up for your final choice! Now the time of fate has come!)
Egaku kiseki wa sora wo tsuranuiteiku !
(Fly away beyond the clouds! Will you still be in your dreams?)
Wa ranai joushou!

Yami o sai te! Afure dashi ta! Hikari tsugami kakage ro!
Modore teita kono shunkan tsunage
Kimi gakureta… koe wo dai te… takaku takaku hane bataku!
Koboreru mirai mabushi kurai sosogu…
I’m awakening in the new world!


DIVE TO BLUE

"Habataku no sa sugu ni"
dareka ga sasayaita
"Hiza-shita no kyoukaisen tonde shimaou yo"
Senaka-awase no jiyuu
"Sabita kusari ni saisho kara tsunagarete nante nakattan dayo"

Mune ni mune ni sora wo tsumete
Ao-iro no fukaku ni shizumitai

Doko made mo hatenaku yozora wo matoi
Atarashii sekai wo sagasou
Aitakute Aitakute yuremadou keredo
Mezameta tsubasa wa kesenai

Nani ga tadashii nante kotae wa nai sa
Eda-wakare shita michi Kami nomizo shiru
Tomerarenai speed kasoku suru hodo
Kodou wa takaku takanari oboete iku

Nanimo kamo ga ochite iku kedo
Kimi dake wa otona ni naranai de

Natsukashii hikari ni michibikare
anata wa yasashiku te wo furu
Minareta mirai ni mo wakare wo tsugete
Kowareta kensou wo egakou

Sadamerareta unmei wo kiri-saite
sora e to nukedasou

Ima mo ima mo oboeteiru
Osanai koro ni mita asa-yake wo

Doko made mo hatenaku yozora wo matoi
Atarashii sekai wo sagasou
Aitakute Aitakute yuremadou keredo
Mezameta tsubasa wa kesenai

Natsukashii hikari ni michibikare
anata wa yasashiku te wo furu
Minareta mirai ni mo wakare wo tsugete
Kowareta kensou wo egakou

Sadamerareta unmei wo kiri-saite
sora e to nukedasou.

Flower

Sou ki zuite ita gogo no hikari ni mada
Boku wa nemutteru omoidouri ni naranai
Shinario wa tomadoi bakari dakedo
Kyou mo aenai kara
Beddo no naka me wo tojite
Tsugi no tsugi no asa made mo
Kono yume no kimi ni mitoreteru yo
Itsu demo kimi no egao ni yurete
Taiyou no you ni tsuyoku saite itai
Mune ga itakute itakute
Kowaresou dakara
Kanawanu omoi nara semete karetai!

Mou waraenai yo yume no naka de sae mo
Onaji koto iun da ne
Mado no mukou hontou no kimi wa
Ima nani wo shiterun darou
Tooi hi no kinou ni karappo no torikago wo motte
Aruiteta boku wa kitto kimi wo sagashitetan da ne
Azayaka na kaze ni sasowaretemo
Muchuu de kimi wo oikakete iru yo
Sora wa ima ni mo ima ni mo
Furisosogu you na aosa de
Miageta boku wo tsutsunde

Like a flower…
(Flowers bloom in sunlight and I live close to you)
Ikutsumo no tane wo ano oka e ukabete
Kirei na hana wo shikitsumete ageru
Hayaku mitsukete mitsukete
Koko ni iru kara
Okosareru no wo matteru no ni
Itsu demo kimi no egao ni yurete
Taiyou no you ni tsuyoku saite itai
Mune ga itakute itakute
Kowaresou dakara
Kanawanu omoi nara semete karetai!

SHINE

I want to shine on you and always like the dazzling sun
I will defend you from all the darkness
This is the truth from my heart

Kokoro no oku surege tara shinjite moraeru no nine
Mino mienakute mo nakusanai deite
Sono yasashisa wa boku ta jya nai

Kaze ni notte i kabi
Koko jya nai doko ka e
Umi wo koe toki wo koe
Kitto sekudarou
Itsu no hini mo
Itsu mo sonna kimi wo
Tai wo no youni zutto mima moetara ina.


Daybreak’s bell

Nee konna katachi no deai shika nakatta no? kanashii ne
Anata ni shindemo ayamete hoshiku mo nai onegai
Unmei sae nomikomare shizumisou na umi e to

Negai yo kaze ni notte yoake no kane wo narase yo
Tori no you ni my wishes over their airspace
Musuu no nami wo koe asu e tachimukau anata wo mamoritamae
My life i trade it for your pain
Arasoi yo tomare!

Nee hito wa doushite kurikaeshi ayamachi wo kasaneteku?
Shinka shinai dare ni mo nagareru kono chi ga daikirai
Honnou de sabakiau dare no demo nai daichi de

Sumiwataru mirai ga kita nara kusabana mo heiki ni yadoru darou
My wishes over their airspace
Dare ga yuriokoshite warui yume kara samashite yo
Kanau no nara my life i trade it for your pain
Dore dake inoreba ten ni todoku?

Ima asayake ga unabara to watashi wo utsusu

Negai yo kaze ni notte yoake no kane wo narase yo
Tori no you ni my wishes over their airspace
Musuu no nami wo koe asu e tachimukau anata wo mamoritamae
My life i trade it for your pain
Furimukazu habatake kono omoi wo hakonde ano sora wo tondeku
Mirai wa dare ni mo uchiotosenai

Seventh heaven

Ware ni tsuzuke saa ikou karadajuu no kara wo yaburi
Sarakedasu Ai wo tsunagou dakishimeai tashikameai
Yurameku rakuen made shissoku shinai Maccha kurenai
Tsukami totte yarusa tabun stairs to the seventh
Running up to heaven, Yeah!

Kirameita ruri-iro ga mune ni sasari omoishirasareru
Egaite ita miraizu ni kimi ga ukabu
[We can't let it end]
Eien ga musubareru My baby, don't think it's hard.

Kimi ni saishuuteki na question. Doko ni sonzai suruka heaven?
Hinto wa nai The answer in a minute thirty one.

Kono shunkan ni mo shinkou mawari mawari iro wa kawari
yuuwaku ni obore shizumi doudou meguri chiri mo tsumori
Daremo kare mo saa kina itsumo iruyo kangei shiyou
sono te de omouzonbun Stairs to the seventh.
Running up to heaven, Yeah!

Kirameita ruri-iro ga mune ni sasari omoishirasareru
Egaite ita miraizu ni kimi ga ukabu
[We can't let it end]
Eien ga musubareru My baby, don't think it's hard.

Kimi ni saishuuteki na question. Doko ni sonzai suruka heaven?
Mayoi wa nai The answer's waiting under your feet.

[Under your feet. Under your feet. Under your feet.]

Afuredasu nomitsukusu kairaku to taihi suru shoujou
Tenkanshi, kono daichi he to kizuki yukou

Yurameku rakuen made shissoku shinai Maccha kurenai
Tsukami totte yarusa tabun stairs to the seventh
Running up to heaven, Yeah!

About Music Rock

History of Rock Music

The Beginnings
Chuck Berry invented rock and roll in 1955. He was a black man playing black music. But times had changed: white kids were listening to rhythm and blues throughout the Northeast, and white musicians were playing rhythm and blues side to side with country music. The music industry soon understood that there was a white market for black music and social prejudice, racial barriers, could nothing against the forces of capitalism. Rock and roll was an overnight success. The music industry promoted white idols such as Elvis Presley, but the real heroes were the likes of Chuck Berry, who better symbolize the synergy between the performer and the audience. The black rockers, and a few white rockers, epitomized the youth's rebellious mood, their need for a soundtrack to their dreams of anticonformism. Their impact was long lasting, but their careers were short lived. For one reason or another, they all stopped recording after a brief time. Rock and roll was inherited by white singers, such as Presley, who often performed songs composed by obscure black musicians. White rockers became gentler and gentler, thereby drowning rock and roll's very reason to exist. Buddy Holly was the foremost white rocker of the late Fifties, while cross-pollination with country music led to the vocal harmonies of the Everly Brothers and the instrumental rock of Duan Eddy.
The kids' malaise returned, with a much taller wave, when folksingers started singing about the problems of the system. Kids who had not identified with Woody Guthrie's stories of poor people, identified immediately with folksingers singing about the Vietnam war and civil rights. Bob Dylan was arguably the most influential musician of the era. He led the charge against the Establishment with simple songs and poetic lyrics. A generation believed in him and followed his dreams. Music became the expression of youth's ambitions.
At the same time, the story of commercial rock music took a bizarre turn when it hit the coast of California: the Beach Boys invented surf music. Surf music was just rock and roll music, but with a spin: very sophisticated vocal harmonies. California had its own ideas about what rock and roll should be: a music for having fun at the beaches and at the parties. The Beach Boys' vocal harmonies, a natural bridge between rockers and doo-wop, turned out to be a fantastic delivery vehicle for the melodic aspect of rock and roll, that black musicians usually buried in their emphatic shouting.








The Sixties
The times were ripe for change, but a catalyst was still needed.
"Mersey-beat" changed the story of rock music forever. Mersey-beat came out of nowhere, but it came with the power of history. Britain had had a lousy music scene throughout the early Sixties. Mainly, British rockers were mimicking Presley. Mainstream Britain did not identify with rock and roll, was not amused by their "rebel" attitudes, did not enjoy their frenzy rhythm. To a large extent, though, the seeds had already been planted. Britain had an underground before America did: the blues clubs. Throughout the Fifties, blues clubs flourished all over England. London was the epicenter, but every major English city had its own doses of weekly blues. Unlike their rock counterparts, who were mere imitators, the British blues musicians were true innovators: in their hands, blues became something else. They subjected blues to a metamorphosis that turned it into a "white" music: they emphasized the epic refrains of the call and response, they sped up Chicago's rhythm guitars, they smoothed down the vocal delivery to make it sound more operatic, they flexed the choruses, enhanced the organ arrangements, added vocal harmony. In a few years, British blues musicians were playing something that was as deeply felt as the American blues, but had a driving power that no other music on Earth had.
In the early Sixties veterans of that scene, or disciples of that scene, led to the formation of bands such as the Rolling Stones, the Yardbirds and the Animals. The Rolling Stones became "the" sensation in London and went on to record the most successful singles of the era. The Yardbirds were the most experimental of them all, and became the training ground for three of the greatest guitarists ever: Eric Clapton, Jeff Beck and Jimi Page. From their ashes two blues bands were born, the Cream and the Led Zeppelin, that in a few years will revolutionize rock music again.
Liverpool did not have a great underground scene but had a more commercial brand of rock bands. The producer George Martin was instrumental in creating the whole phenomenon, first with Gerry And The Pacemakers and then with the Beatles, the band that went on to achieve world-wide success. The smiling faces of the Liverpool kids were in stark contrast with the underground club's angry blues animals. But the two complemented each other. "Beatlemania" stole the momentum from the blues scene and understood how to turn that music into a mass-media attraction. Rock music as a major business was born.
The most influential bands of the second generation were the Kinks and the Who. Both went on to record concept albums and "rock operas" that paraphrased the British operetta at the sound of rock music. While Kinks were still proponents of melodic rock, the Who's manically amplified guitars were already pointing towards a noisier and less gentle future.
Cream and Led Zeppelin upped the ante when they started playing very loud blues. Cream's lengthy solos and Led Zeppelin's fast riffs created the epitome of "hard rock".
The impact of British electricity on the American scene was equivalent to an earthquake. Kids embraced electric guitars in every garage of the United States and started playing blues music with a vengeance.
On the East Coast it was Dylan again who led the charge. His first electric performances were met with disappointment by his fans, but soon "folk-rock" boomed with the hits of the Byrds and Simon And Garfunkel.
The psychedelic movement that had been growing across the country somehow merged with the wave of electric rockers and the protest movement. They became one both in New York and in San Francisco. The Velvet Underground and the Fugs turned rock and roll into an intellectual operation.
On the West Coast both San Francisco and Los Angeles reacted to the boom of rock and roll in typically eccentric manners. San Francisco, that was becoming the mecca of the hippies, begat "acid-rock", and Los Angeles, whose milieu had produced countless literary and cinematic misfits, begat Frank Zappa and Captain Beefheart, two of the most influential musicians of the century. Zappa and Beefheart recorded some of the most experimental records ever and turned rock and roll into a major, serious art. San Francisco's bands, led by the Jefferson Airplane and the Grateful Dead, endorsed complex harmony and improvised jams, thereby moving rock music towards the intellectual excesses of jazz music.
Psychedelic rock was spreading across the country, and spilling over into Britain. Soon America produced the Doors and England produced the Pink Floyd, two bands whose influence will be gigantic. Texas psychedelia went unnoticed, but bands like Red Crayola were far ahead of their time. Detroit was also left out of the main loop, but nonetheless the MC5 and the Stooges helped move rock music one notch up the ladder of noise.
The boom of rock music in the United States helped resurrect the blues. Jimi Hendrix and Janis Joplin became stars, while countless white blues musicians flooded the clubs of Chicago and San Francisco. The Band and Creedence Clearwater Revival reached new peaks in the revisitation of traditional white and black music. In the south this revival movement will lead to the boom of "southern rock" and the likes of the Allman Brothers and Lynyrd Skynyrd.
Country music was still a Nashville monopoly, but several artists were merging it with eastern meditation, jazz improvisation and rock's freedom. Sandy Bull, Robbie Basho and John Fahey were playing long instrumental tracks that easily rank with the most ambitious pieces of the avantgarde.
In the meantime, black music was going through a metamorphosis of its own. Soul music turned into a form of party music with Tamla Motown's acts such as the Supremes, and rhythm and blues mutated in a feverish genre called "funk" for obscene performers such as James Brown.
In Britain, rock music took more of a European feel with the underground movement that was born out of psychedelic clubs. Canterbury became the center of the most experimental school of rock music. The Soft Machine were the most important band of the period, lending rock music a jazz flavor that would inspire "progressive-rock". Among the eccentric and creative musicians that grew up in the Soft Machine were Robert Wyatt, David Aellen, and Kevin Ayers. Their legacy can be seen in later Canterbury bands such as Henry Cow, no less creative and improvisational.
Progressive-rock took away rock's energy and replaced it with a brain. Traffic, Jethro Tull, Family and later Roxy Music developed a brand of soul-rock that had little in common with soul or rock and roll: long, convoluted jams, jazz accents, and baroque arrangements derailed the song format. King Crimson, Colosseum, Van Der Graaf Generator, early Genesis, Yes and started playing even more complex, theatrical and hermetic pieces. Arrangements became more and more complex, insturmentalists become more and more skilled. Electronic instruments were employed frequently. Bonzo Dog Doo Dah Band, Third Ear Band and Hawkwind created genres that at the time had no name (decadent cabaret, world-music and psychedelic hard rock).
The paradigm soon spilled into continental Europe, that gave its first major rock acts: Magma, Art Zoyd, Univers Zero.
Even Britain's folksingers sounded more like French intellectuals than oldfashioned storytellers. The folk revival of the Sixties was mainly the creation of a fistful of three collectives: the Pentangle, the Fairport Convention and the Incredible String Band. But around them singer songwriters like Donovan, Cat Stevens, Nick Drake , John Martyn, Syd Barrett and Van Morrison established new standards for musical expression of intimate themes.








The Seventies
The deaths of the Doors' Jim Morrison, of Janis Joplin, of Jimi Hendrix and countless others, sort of cooled down the booming phenomenon. After the excesses of the mid Sixties, a more peaceful way to rock nirvana had already been proposed by Bob Dylan and others when they rediscovered country music. And "country-rock" became one of the fads of the Seventies, yielding successful bands such as the Eagles. Reggae became a mainstream genre thanks to Bob Marley. Funk became even more absurd and experimental with George Clinton's bands. Hard rock begat heavy metal, that soon became a genre of its own (Blue Oyster Cult, Kiss, Aerosmith, AC/DC, Rush, Journey, Van Halen). The Seventies were mostly a quiet age, devoid of the nevrastenic battage of the Sixties.
At the turn of the decade, the main musical phenomenon was the emergence of a new generation of singer songwriters that were the direct consequence of the previous generation's intellectual ambitions. Leonard Cohen, Tim Buckley, Nico, Lou Reed, Todd Rundgren, Joni Mitchell, Neil Young, Tom Waits, and the most famous of all, Bruce Springsteen, established a musical persona that unites the classical composer and the folksinger.
In Britain, the musical decadence led to decadence-rock, personified by dandies David Bowie and Marc Bolan. Eccentric remnants of progressive-rock such as Robert Fripp and Peter Gabriel started avantgarde careers that led to an expanded notion of rock music. New musicians such as Kate Bush and Mike Oldfield helped liberate rock music from the classification in genres and opened the road to more abstract music. But the single most influential musician was Brian Eno, who first led Roxy Music to innovate progressive-rock and then invented ambient music.
Largely neglected at the time, German rock (often referred to as "kosmische musik") was probably twenty years ahead of British rock. Kraftwerk, Amon Duul, Tangerine Dream, Klaus Schulze, Faust, Neu Can made some of the most important albums of the era. They laid the foundations for popular electronic music, for modern instrumental rock, even for new age music and for disco-music.
THe Seventies were largely a decade of consolidation, rather than innovation, but two phenomena erupted that would have a strong impact: disco-music and punk-rock. Disco-music was the first genre to use electronic instruments for commercial, mass-scale music. The beat of dance music would never be the same again. Orchestral arrangements became as ordinary as a guitar solo. Punk-rock had an even greater impact, because it came with the emancipation of the record industry from the "majors". Thousands of independent record labels promoted underground artists and soon the music scene was dramatically split between mainstream rock (descendant of Presley and Beatles) and alternative rock (descendant of Zappa and Grateful Dead). Punk-rock per se was fast, loud rock and roll music, but it quickly became a moniker for all angry music of the time.
From the ashes of decadent acts such as the New York Dolls, the Ramones made punk-rock more than a sound, they made it a religion.
The Sex Pistols led the prolific British school of punk-rock. Punks were not necessarily angry, anarchic and suicidal: the Clash and the Fall were punks with a brain.
New York punks were as intellectual as the folksingers of twenty years before. Patti Smith, Television, Suicide and Feelies were the main acts of the "new wave". The new wave was truly a new wave of creativity, that harked back to the mid Sixties, when bands were competing to innovate. The Pere Ubu and Devo in Ohio, and the Residents and the Chrome in San Francisco led the way for hundreds of bands that went beyond the song format and offered music as bizarre and revolutionary as Zappa's and Beefheart's. Tom Petty, in California, was one of the few musicians of that generation to remain untouched by the experimental frenzy.
Blondie, Talking Heads and Madonna took the idea to the discos of New York. The Fleshtones and the Cramps led the myriads of bands the rediscovered the Fifties and the Sixties, in the wake of the "american graffiti" movement.
The number of solitary geniuses grew exponentially and counted on eccentric figures such as Zoogz Rift in Los Angeles, renaissance men such as Bill Laswell in Boston and demented industrial composers such as Jim Foetus in New York (via Australia).
Rock and roll was born again. Just like in the mid Sixties, each year yielded scores of brilliant musicians that were rewriting the canon of rock music. In Britain first came industrial music, invented by Throbbing Gristle as a hybrid of avantgarde and rock music, and then dark-punk, whose main proponents were Joy Division, Siouxsie Sioux, Public Image Ltd, the Cure, the Killing Joke, the Sisters of Mercy. The Pop Group was the most innovative combo of the time, and spawned the careers of Rip Rig and Panic and Mark Stewart, predating the fusion of soul, jazz and hip hop.












The Age of Alternative Rock
In the United States the new wave was replaced by the "no wave" of Lydia Lunch, the Sonic Youth, the Swans, while punk-rock evolved into "hardcore" and myriads of bands terrorized New York (Misfits), Boston (Mission Of Burma, Lemonheads), and above all Washington (Bad Brains, Pussy Galore, Fugazi). The West Coast had its share of hardcore violence, but somehow Los Angeles (Black Flag, X) and San Francisco (Dead Kennedys, Flipper, Camper Van Beethoven) managed to remain more experimental. So much so that Los Angeles saw the emergence of a generation of bands with roots in the "beach-punk" scene but whose sound was far more complex (Minutemen, Saccharine Trust, Universal Congress, fIREHOSE ), a school that culminated in the solo career of Henry Rollins . Australia boasted one of the most intense scenes, from the early days of the Saints and Radio Birdman to the later days of the Lubricated Goat.
The whole national scene benefited from the emergence of independent music recording. Los Angeles nurtured the Paisley Underground and the cow-punk scene: the Dream Syndicate and the Gun Club emerged from that creative revival. All sorts of neo-rock bands roamed New York, notably the Band Of Susans. Boston gave two of the most influential acts, Dinosaur Jr and the Pixies, that de facto invented "grunge" rock. The southeast became one of the cradles of a melodic genre that mixed folk-rock and pop (B52's, REM). Seattle saw the revival of hard-rock and the boom of grunge (Nirvana, Soundgarden, Pearl Jam). Chicago witnessed the birth of Steve Albini's evil genius with the Big Black. Minneapolis was the real catalyst: the Husker Du and the Replacements, and later the Soul Asylum, changed the whole notion of punk-rock and created the premises for a return to the rock song format with a new impetus. Kentucky was another surprising center of action: the Squirrel Bait started a dynasty of convoluted mainly instrumental punk-rock that would continue with the Slint and the Tortoise.
Psychedelia in the age of punks begat the Butthole Surfers in Texas, the Flaming Lips in Oklahoma, the Phish in New England and a whole legion of gurus in New York: Mark Kramer, Dogbowl, Jarboe, Lida Husik, Azalia Snail. And Mercury Rev, the whole band demented enough to compete with the Flaming Lips.
Roots-rock lived on the side, propelled by the occasional success of the Black Crowes, by the distinguished career of the Del-Lords and by the phenomenal energy of lesser known bands such as the Fetchin Bones.
Australia's rock school expanded dramatically and entered the charts, while preserving artistic merit with bands such as the Church.
Most of the impulse for what was happening actually came from tiny and far New Zealand, that had nurtured an independent scene since the days of the Tall Dwarfs, the Clean and the Chills, a school that would peak with Roy Montgomery's ambitious works.
In the meantime another street phenomenon of the ghettos, hip hop, revolutionized the music scene and bands such as Beastie Boys, Run DMC, Public Enemy crossed over to the rock audience. Producers such as Tackhead were instrumental in redefining the concept of "composition".
Britain followed a different course, almost in the opposite direction, towards simpler and more commercial music. It all started with the modernist sounds of Ultravox, Wire and XTC, and their vaguely robotic melodies. Then Japan and Simple Minds turned that sound into pompous pop songs. And finally Orchestral Manouvres in the Dark and others created synth-pop, that typically was pop played on electronic instruments and sung by a female or gay singer (with a few notable exceptions). The Depeche Mode and the Pet Shop Boys were probably the most artistically successful of the many that climbed the charts. The Irish U2 and the Smiths turned sharply towards melody.



The Nineties
The Nineties continued to see the expansion of alternative rock, both artistically and commercially. The general trend of the era was towards more and more abstract music, music that has lost its original label of dance/party music.
First and foremost, the Nineties were the decade of singer songwriters who play ever more abstract compositions: female composers such as Tori Amos, Lisa Germano and Juliana Hatfield, male composers such as Matthew Sweet, Magnetic Field, Smog, Beck . From Australia, Nick Cave taught everybody else, bridging the generation of Tom Waits. Canada had Jane Siberry and Loreena McKennitt. Ireland had two of the most unique voices, Sinead O'Connor and Enya, soon joined by Iceland's Bjork. In England, only Polly Jean Harvey ranked with these masters.
"Foxcore" was a brief fad propelled by West Coast all-girl punk bands such as Hole, Babes In Toyland, L7 and Seven Year Bitch.
Industrial music staged a dramatic comeback in Chicago with two of the most visible acts of the decade: Ministry and Nine Inch Nails. New York followed suit with Cop Shoot Cop and Type O Negative, San Francisco with Neurosis, Steel Pole Bath Tub, Thinking Fellers Union. Texas with a florid industrial/psychedelic school that included the Pain Teens and the Vas Deferens Organization.
Gothic rock came from the sun belt (Lycia, Black Tape For A Blue Girl) and was never as popular as the northern variant of industrial music.
Hard sounds still ruled in the aftermath of grunge, and New York (Unsane, Helmet, Surgery, Monster Magnet) and Los Angeles (Tool, Stone Temple Pilots, Kyuss, Korn) had their share of the pie.
Techno was the new trend in dance music. Invented in the Eighties in Detroit by the triad of disc jockeys Juan Atkins, Kevin Saunderson and Derrick May, techno crossed the Atlantic and established itself in England and in the continent (Front 242), marching hand in hand with the rave scene. America was left behind (Moby and not much else).
Britain was the place for psychedelic music. It started with the Liverpool revival of Echo And The Bunnymen and Julian Cope, then it picked up speed with dream-pop (Cocteau Twins, the Australian Dead Can Dance, the Norwegian Bel Canto, and later Slowdive, Bark Psychosis, Tindersticks) and with the Scottish noise-pop bands (Jesus And Mary Chain and Primal Scream) and finally reached a climax with the shoegazers (My Bloody Valentine, Spacemen 3, Loop, Spiritualized, Catherine Wheel), before folding into a new form of ambient music.
By the end of the decade, Britain was awash in Brit-pop, a media-induced trance of super-melodic pop that spawned countless "next big things", from Verve to Oasis to Blur to Suede to Radiohead.
The nineties were also the decade of heavy metal (that peaked in Los Angeles with Metallica, Jane's Addiction, Guns And Roses) which soon split into a myriad subgenres (doom metal, grind-core, death metal, etc) and funk-metal (Red Hot Chili Peppers and Rage Against The Machine in Los Angeles, Primus and Faith No More in San Francisco). Marilyn Manson was the late phenomenon that recharged the genre.
Punk-pop was born in Los Angeles in the Eighties, but somehow peaked in the Nineties elsewhere (Green Day in San Francisco, Screeching Weasel and Pegboy in Chicago).
The Nineties were the decade of intellectual rock, when no song could be just a melody and a rhythm but had to be all twisted and deranged. New York leaned towards rhythm and blues (Jon Spencer Blues Explosion, Soul Coughing, Royal Trux) and psychedelia (Yo La Tengo ), Boston towards psychedelia (Galaxie 500, Morphine) and pop (Sebadoh, Breeders, Belly), Seattle towards psychedelia (Sky Cries Mary, Built To Spill), Los Angeles towards psychedelia (Mazzy Star, Red Temple Spirits, Medicine, Grant Lee Buffalo), San Francisco towards folk and country (American Music Club, Pavement, Red House Painters), Washington towards punk-rock (Unrest, Girls Against Boys), Chicago towards punk-rock (Jesus Lizard) psychedelia (Codeine, Eleventh Dream Day), pop (Green, Smashing Pumpkins) and country (Uncle Tupelo).
Remnants of punk-rock in Texas (Ed Hall), Minneapolis (Cows), Tennessee (Today Is The Day) kept sending shock-waves around the nation.
The Southeastern states came up strong with more and more intelligent sounds (Bitch Magnet, Blind Idiot God, Don Caballero, Grifters) that eventually peaked in the North Carolina school (Polvo, Seam).
Analog synthesizers staged a comeback with Jessamine, Magnog, Labradford.
But new styles kept coming literally from everywhere: Rhode Island (Six Finger Satellite), Arizona ( Calexico), Ohio ( Brainiac), Montana (Silkworm), Michigan (Windy & Carl).
England kept mutating its variant of psychedelia, that now began bordering on dissonant avantgarde (Stereolab, Ozric Tentacles, Pram, Flying Saucer Attack, Porcupine Tree).
The Nineties were the age of electronic music, whether in dance, ambient or noise format. Electronic musicians and ensembles spread to Belgium (Vidna Obmana), France (Air, Deep Forest, Lightwave), Germany (Sven Vath, Mo Boma, Mouse On Mars, Air Liquide), Canada (Skinny Puppy, Front Line Assembly, Delerium, Vampire Rodents, Trance Mission), Scandinavia, and especially Japan (Zeni Geva, Boredoms, Merzbow, the triad of noise). Britain's revitalized ambient scene yielded Orb, Main, Rapoon, Autechre.
Britain's dance music was far more successful (creatively speaking) than its rock bands: Madchester (Stone Roses), rave (Saint Etienne), transglobal dance (Banco De Gaia, Loop Guru, Transglobal Underground, TUU) ambient house (Orbital, Future Sound Of London, Aphex Twins, Mu-ziq), jungle (Goldie, Squarepusher, Propellerheads), trip-hop (Portishead, Tricky), and plain techno (Meat Beat Manifesto, Prodigy, Chemical Brothers) artists redefined compositional processes and cross-bred countless genres.
Industrial music and grindcore somehow merged and spawned terrifying sounds in the albums of Techno Animal and Godflesh.
The Irish Cranberries and the Scottish Belle And Sebastian are among the revelations of the end of the decade.
Australia still boasts impressive ensembles, and in particular one of the most important instrumental bands, Dirty 3.

About L'Arc~en~Ciel

Ogenki des.....Wew....kita mulai dari membahas L'Arc~en~Ciel.

Semua bermula dari tetsu, yang ingin membentuk band di era band-booming saat itu. Bersama temannya ken, ia sempat membentuk bystonwell. Setelah bystonwell bubar, ia lalu membentuk band lain bersama hiro. Suatu hari tetsu melihat penampilan band lain bernama Jerusalem Rod, yang beranggotakan antara lain hyde sebagai gitaris, dan pero sebagai drummer. Melihat penampilannya, tetsu terpikat dan lalu mengajak hyde bergabung sebagai vokalis. hyde setuju, asalkan ia boleh membawa pero. Ketika itu, mereka melakukan session di Sub-Rock dan kemudian mereka setuju membentuk group band. Dan terbentuklah L'Arc~en~Ciel di Osaka pada Februari 1991 dengan formasi awal tetsu [bass], hyde [vokal], hiro [gitar] dan pero [drum]. Nama L'Arc~en~Ciel (yang berarti pelangi) dipilih oleh sang leader tetsu. Nama itu berasal dari nama film prancis yang ditonton tetsu sebelumnya. Ia memilih nama itu hanya karena nama itu kedengarannya keren. Aneh kan?
Mereka lalu mengadakan LIVE pertamanya di Nanba Rockets pada 30 Mei 1991. Karena corak musiknya yang unik, mereka dengan cepat mengumpulkan banyak fans sehingga mereka makin sibuk manggung di daerah Osaka dan sekitarnya. Mereka bahkan sempat merekam video L'Arc~en~Ciel yang berisikan rekaman LIVE mereka di Nanba Rockets. Video ini terdiri dari 2 lagu, Claustrophobia dan I'm in pain.
Di tengah kesibukan tersebut, sang gitaris Hiro memutuskan keluar dari band pada 12 Juni 1991. Mereka lalu kebingungan karena mereka membutuhkan gitaris untuk bisa terus manggung. Ketika itu tetsu teringat pada Ken. Ken saat itu sedang menyelesaikan kuliahnya di Universitas Nagoya jurusan arsitektur. Setelah menerima tawaran dari tetsu, Ken berpikir selama 3 hari dan ia lalu memutuskan cabut dari kuliahnya untuk bergabung dengan Laruku. Tetapi ternyata orangtua Ken sangat marah dengan keputusan ini, dan konon mereka masih tidak saling bicara sampai saat ini.
Ken lalu memulai LIVE pertamanya bersama Laruku di Shinjuku Loft pada 25 Juni 1991. Pada 1 Oktober, Laruku merekam Voice untuk dimasukkan dalam CD kompilasi Gimmick. 1 bulan kemudian, tepatnya 25 November, mereka merilis single pertamanya Flood of Tears (c/w Yasouka) dan hanya tersedia 1000 kopi saja.
Tapi ternyata jalan mereka belum terlalu mulus. Pada 30 Desember 1992, setelah LIVE di Osaka Music Hall, Pero ikut hengkang. Sekali lagi, Laruku kelabakan. Untungnya, Tetsu melihat seorang drummer jempolan bernama Sakura di sebuah live house di Tokyo. Tetsu yang kagum akan permainan Sakura langsung mengajaknya bergabung, padahal mereka belum saling mengenal (apalagi mengingat jarak antara Osaka dan Tokyo yang cukup jauh). Sakura yang penasaran dengan Laruku akhirnya pergi ke Osaka untuk melihat band tersebut. Akhirnya pada 16 Januari 1993, Sakura resmi bergabung dengan Laruku.
Pada bulan April 1993, mereka merilis album perdana mereka yang berjudul DUNE. Pada 31 Mei DUNE akhirnya menduduki posisi puncak Oricon Indies chart. Pada bulan september, single Yokan diikutkan dalam omnibus The Monsters of Shock Age. Demi mengejar popularitas, mereka akhirnya pindah ke Tokyo, walaupun sebenarnya hyde kurang setuju dengan kepindahan merka tersebut. Mereka kemudian merilis video pertamanya, Touch of Dune pada 21 Oktober.
Pada medio '94, mereka akhirnya meninggalkan label indie dan bergabung dengan Ki/oon Record (anak perusahaan Sony). Bersama Ki/oon, mereka merilis single video Nemuri ni Yosete pada 1 Juli, sementara album Tierra dirilis 2 minggu kemudian, sekaligus mengawali tur Sense of Time '94. Pada 9-20 September, mereka berkunjung ke Maroko untuk rekaman video SIESTA, yang kemudian dirilis 1 Desember. Sementara single pertama mereka bersama Ki/oon, Blurry Eyes dirilis 21 Oktober. Single ini menjadi OST dari anime DNA2.
Pada tanggal 1 Desember pula, pendaftaran untuk official fansclub Ciel dibuka. Para anggotanya mendapatkan majalah bulanan Ciel. Pada majalah Ciel vol.0, terdapat bonus jam tangan 'Ciel'. Pada 21 Mei 1995, mereka merilis single video And She Said, juga sekaligus memulai tur "in CLUB 95" dimana mereka berkeliling jepang sejauh 15.407 km sambil mengadakan 19 kali konser di livehouse/club yang merka lalui. Single Vivid Colors kemudian dirilis pada 6 Juli, dan kemudian album heavenly pada 1 September. Pada 22 September, untuk pertama kalinya mereka tampil di Music Station dengan membawakan lagu Vivid Colors. Single Natsu no Yuutsu [time to say good-bye] dirilis pada 21 Oktober, dan puncaknya adalah Tour Heavenly '95 yang finalnya diadakan di Tokyo Dome, dimana 10166 tiket terjual habis dalam 28 menit.
Tahun 1996 mungkin adalah salah satu tahun tersibuk bagi Laruku. Dimulai pada 21 Maret dengan video heavenly~films dan photobook pertama mereka, heavenly photographs. Tur "kiss me deadly x heavenly" dimulai bulan April, dimana tetsu sempat sakit sehingga konser sempat ditunda. Akhirnya finale tour tersebut, "kiss me deadly x heavenly '96 REVENGE" diadakan di NHK Hall pada 26 Mei. Pada 8 Juli, single Kaze ni Kienaide dirilis, kemudian disusul buku biografi mereka yang terlengkap, "IS" pada 20 September. Single flower dirilis 17 oktober, dan disusul single Lies and Truth pada 12 November. Akhirnya album True dirilis pada 12 Desember dan kemudian mereka memulai tur Carnival of True pada 23 Desember. Album True sendiri merupakan album Laruku pertama yang terjual sebanyak 1 juta kopi.
Sayangnya pada Februari ’97 Sakura ditahan polisi karena kasus kepemilikan Narkoba. Hal ini tentu saja sangat menggangu aktivitas Laruku. Peluncuran single the Fourth Avenue cafe juga terpaksa dibatalkan. Akan tetapi Laruku memutuskan untuk terus jalan walaupun kini mereka hanya bertiga. Sakura akhirnya dihukum 2 tahun penjara dan ia resmi meninggalkan Laruku pada 4 Nov ’97.
Seperti biasa, Tetsu kemudian mencari pengganti Sakura dan ia lalu melihat Yukihiro yang merupakan mantan drummer DIE IN CRIES. Ia lalu merekrutnya sebagai supporting drummer dan Laruku mulai aktif kembali secara resmi pada 27 Agustus. Single pertama mereka setelah re-start, Niji dirilis pada 17 Oktober. Reincarnation Live ’97 di Tokyo Dome menandai kembalinya kesuksesan Laruku. LIVE ini bahkan memecahkan rekor penjualan tiket di Tokyo Dome. Dengan hanya 4 menit, 56.000 lembar tiket telah terjual habis.
Pada 1 Januari ’98 Yukihiro secara resmi bergabung dengan Laruku. Masuknya Yukihiro membawa angin segar pada corak musik Laruku. Mereka lalu terus merilis hit, seperti single winter fall pada 28 Januari dan album HEART pada 25 Februari. Single DIVE TO BLUE dirilis 25 Maret, dan tur Light My Fire diadakan pada bulan Mei. disusul video A PIECE OF REINCARNATION pada 22 April. Lalu pada 8 Juli mereka merilis 3 single sekaligus yaitu HONEY, Kasou, dan Shinshoku lose control dan hal ini merupakan pertama kalinya dalam sejarah. Pada 27 Juli, untuk pertama kalinya dalam sejarah pula, single HONEY dan Shinshoku berturut-turut menempati posisi 1 dan 2 di Oricon chart. Shinsoku juga dimasukkan ke dalam OST movie Godzila (khusus versi asia). Menyusul kesuksesan HONEY, single snow drop dirilis pada 7 Oktober dan single forbidden lover seminggu kemudian. Kemudian pada malam tahun baru mereka akhirnya berkesempatan tampil di acara Kouhaku Utagassen dengan single 'HONEY' yang telah terjual 1 juta kopi.
Memasuki tahun 1999, Laruku terlihat makin sibuk. Photobook LIVE yang merupakan kumpulan foto mereka dalam live dirilis pada 20 Januari. Sementara Photobook LIFE yang berisi foto-foto mereka saat berada di mancanegara dirilis sebulan kemudian. Mereka lalu merilis single HEAVEN'S DRIVE pada 21 April dan Pieces pada 2 Juni. Pada 1 Juli mereka merilis 2 album ark dan ray secara serempak di beberapa negara di asia. Untuk menyambut 2 album ini, diluncurkanlah situs spesial http://www.arkray.com/ yang hanya aktif selama 26 hari saja. Sementara itu tiket tur nasional Grand Cross Tour ’99 terjual 650.000 lembar. Single Driver's High dan video chronicles dirilis pada 11 Agustus. Driver's high kemudian dijadikan OST dari anime GTO. Single LOVE FLIES dirilis pada 27 Oktober, bersamaan dengan peluncuran website LArcom.net. Pada malam tahun baru, mereka tampil kembali di acara Kouhaku Utagassen untuk yang kedua kalinya dengan membawakan single HEAVEN'S DRIVE.
Laruku menyambut millennium baru dengan merilis double side single NEO UNIVERSE/finale dan situs LArc-en-Ciel.com. Sementara itu, nama fansklub 'Ciel' diganti menjadi 'Le-Ciel'. Album remix yukihiro 'ectomorphed works' dirilis 28 Juni., single STAY AWAY pada 19 Juli dan album REAL pada 30 Agustus. Mereka juga mengadakan 2 tur, yakni CLUB CIRCUIT 2000 REALIVE dimana mereka manggung di klab-klab kecil untuk dapat melihat reaksi fans mereka lebih dekat, dan TOUR 2000 REAL yang diadakan di stadion-stadion besar. Dan mereka (lagi-lagi) tampil di acara Kouhaku Utagassen pada malam tahun baru untuk yang ketiga kalinya dengan membawakan single STAY AWAY.
Menyambut 10 tahun eksistensi mereka di dunia musik, pada 2001 mereka memutuskan untuk vakum untuk sementara dan memulai proyek solo karir mereka. Praktis, setelah single Spirit dreams inside -another dream-, Laruku tidak mempunyai kegiatan apa-apa lagi. Mereka lalu berkonsentrasi penuh pada solo karirnya. Tetsu sebagai TETSU69 memulai dengan single wonderful world/tightrope, lalu menyusul Hyde dengan single evergreen . Yukihiro tak mau ketinggalan dan membentuk band Acid Android yang membawakan lagu bercorak rock-industrial. Akhirnya ken membentuk Sons of all Pussys (S.O.A.P) dimana ia reuni dengan mantan drummer laruku, Sakura.
Hingga 2003, para fans mulai khawatir dengan gosip akan bubarnya Laruku. Apalagi dengan dirilisnya trilogi album The Best, membuat hati fans makin kebat-kebit. Tetapi laruku menampik gosip tersebut dengan konser Shibuya Seven Days 2003 dan memulai kembali aktivitas mereka sebagai band dengan dirilisnya single READY STEADY GO. Album SMILE kemudian menebar senyuman di kalangan fans. Merka lalu berkesempatan mengadakan konser pertamanya di Amerika dalam acara OTAKON 2004. Kini mereka masih terus berkarya dan berusaha memberikan yang terbaik untuk para fans mereka di seluruh dunia.

About Avenged Sevenfold (A7X)

History of Avenged Sevenfold

The following biography is from Wikipedia.org “The Free Encyclopedia.”

Avenged Sevenfold, sometimes abbreviated to A7X, is a hard rock, and formerly metalcore band from Huntington Beach, California.

****

Country Huntington Beach, California, USA
Years active 1999 to present
Genres Hard Rock, Metalcore (older material)

Labels Warner Brothers Records
Hopeless Records
Members M. Shadows
Synyster Gates
Zacky Vengeance
Johnny Christ
The Rev
Website(s) A7X Official Site

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History
The band formed when the members were in high school. Their first album was titled Sounding the Seventh Trumpet, and was recorded when the band members were eighteen years old. Their follow-up album was entitled Waking the Fallen, which received a positive rating in Rolling Stone magazine.

City of Evil, released on June 7, 2005, strays from metalcore, and adds a more "pop rock" sound with obvious influences ranging from various bands. Although the band have been labeled metal, metalcore and hard rock in many publications, the band themselves claim that they are a "metal" band and have no musical similarities to metalcore in any way although this is heavily debated by their peers. During the recording of City of Evil, M. Shadows' vocal stylings have changed more to focus on melodic singing than on hardcore screaming, because the band decided to pursue a different musical career, and leave a genre that they said was "dying". The proof that this movement was right is the award for Best New Artist in a Video at the 2006 MTV Video Music Awards, as the underdog of a group that included bands such as Panic! at the Disco and James Blunt.

The band's name is an alleged reference to the book of Genesis in the Bible and the story of Cain and Abel, where Cain is punished to live in exile, alone and miserable. Anyone who relieved Cain of his misery by killing him would be "avenged in sevenfold," or punished in a way that is seven times worse than Cain's punishment. The title of Avenged Sevenfold's song "Chapter Four" references Genesis IV, the chapter of the Bible in which the story of Cain and Abel takes place. The song's subject also appears to be this story. Beast and the Harlot, yet another song derived from the Bible, comes from the book of Revelation and refers to the punishment of Babylon and the destruction of Pagan nations. Although the band's title and members' stage names make obvious references to religion, Shadows stated in an interview that they are "not really religious at all."

Their song "Blinded in Chains" was used in the soundtrack for the video game Need for Speed: Most Wanted. Another song, "Bat Country," was used in the soundtracks for SSX on Tour, NHL 06 and Madden 06, following in the footsteps of "Chapter Four" which had also been on the soundtrack for NHL 2004, Madden 2004 and NASCAR Thunder 2004. The song "Beast and the Harlot" was in the soundtrack for Burnout Revenge. All the above games, not coincidentally, are produced by various divisions of Electronic Arts.

During recent tours (Coheed and Cambria spring 2006 tour and Ozzfest 2006), Avenged Sevenfold have been performing the song "Walk", originally by Pantera, as part of a tribute to the late "Dimebag" Darrell Abbott.

Recently at the MTV Video Music Awards, Avenged Sevenfold received the award for best new artist. They took the award over several other artists including; Angels and Airwaves, Panic at the Disco, Rihanna, and James Blunt.

Although Avenged Sevenfold have claimed that they are trying to get away from the metalcore movement, they will be touring with metalcore act Bleeding Through this fall.[1]


Band members
M. Shadows (1999-Present) (Matthew Charles Sanders) — Lead Vocals
Synyster Gates (2001-Present) (Brian Elwin Haner, Jr.) — Lead Guitars, Back up Vocals
Zacky Vengeance (1999-Present) (Zachary Johnathan Baker) — Rhythm Guitars, Back up Vocals
Johnny Christ (2002-Present) (Johnathan Lewis Seward) — Bass (not to be confused with John Christ of Danzig)
The Rev "The Reverend Tholomew Plague" (1999-Present) (Jimmy Owen Sullivan) — Drums, Back up Vocals

Former band members
Justin Sane (1999-2001) — Bass guitar (not to be confused with Justin Sane of Anti-Flag)
Daemon Ash (2001-2002) — Bass guitar

Equipment

Synyster Gates
Uses Schecter guitars:
Schecter Syn Custom
Schecter C-1 FR (white with dot inlays)
C-1 FR Hellraiser Avenger
Syn Custom Avenger Models
Bogner Uberscall head and 4x12 cab...but are moving to Mesa Boogie Triple Rectifiers because of issues with Bogner
Ernie Ball Slinky Top Heavy Bottom Strings

Zacky Vengeance
Uses Schecter guitars:
S-1 Elite
S-1 Regular
S-1 Blackjack
Vengeance Custom S-1 Models
Both Zacky and Syn have been seen using PT and Banshee models on special occasions


Johnny Christ
Uses Ernie Ball basses
Musicman Sterling

The Rev
Uses DW drums
8 piece drum kit including two bass drums
Uses Sabian AA Metal-X cymbals.
Also uses Pro-Mark 5BN Drumsticks and Evans drum heads.


Discography

Demo Recordings
For information, see Early Avenged Sevenfold releases.


Albums
Date of release Title Label U.S. Billboard peak U.S. sales
July 24, 2001 Sounding the Seventh Trumpet Goodlife Recording
August 8, 2001 Warmness on the Soul EP Goodlife Recording
March 19, 2002 Sounding the Seventh Trumpet Re-Release Hopeless Records
August 26, 2003 Waking the Fallen Hopeless Records 12 (Independent Album Chart) 175,000
June 7, 2005 City of Evil Warner Bros. Records 30 697,000

Singles
Date of release Title Label Other Info
September 19, 2005 Bat Country Warner Bros.
February 6, 2006 Beast and the Harlot Warner Bros.
June 12, 2006 Burn It Down Warner Bros. CD/Vinyl Release only. No video/radio play.
July 10, 2006 Seize the Day Warner Bros. Currently not available as a CD or vinyl.

Videography
March 2001 - Warmness on the Soul (professional video) - Sounding the Seventh Trumpet -(Video)
March 6, 2004 - Unholy Confessions (live video with dubbed music) - Waking the Fallen - (Video)
July 28, 2005 - Bat Country - (professional video directed by Marc Klasfeld) - City of Evil (video from Bedlam Society)
February 6, 2006 - Beast and the Harlot - (professional video directed by Tony Petrossian) - City of Evil (Video from YouTube)
June 30, 2006 - Seize the Day - (professional video directed by Wayne Isham) - City of Evil (Video From YouTube)
Burn It Down (live video with dubbed music)

Compilations
Plea for Peace/Take Action! Vol. 2 (2002) (Subcity Records)
"Turn the Other Way"
Take Action! Vol. 3 (2003) (Subcity Records)
"Chapter Four"
Metal=Life CD/DVD (2003) (Subcity Records)
"Unholy Confessions" & Video
Operation: Punk Rock Freedom (2003) (Hopeless Records/Subcity Records)
"Chapter Four" & "Darkness Surrounding"
Hopelessly Devoted to You Vol. 4 (2004) (Hopeless Records/Subcity Records)
"Second Heartbeat" & "Darkness Surrounding"
Hopelessly Devoted to You Vol. 5 (2005) (Hopeless Records/Subcity Records)
"Chapter Four" & "Eternal Rest (Live)" (feat. "Unholy Confessions" video on Enhanced CD)
Masters of Horror Soundtrack (2005)
"Beast and the Harlot" (live)
Kerrang! - High Voltage: A Brief History of Rock (2006) [1]
"Walk" (Pantera cover)
Hopelessly Devoted to You Vol. 6 (2006) (Hopeless Records/Subcity Records)
"Darkness Surrounding" & "Unholy Confessions" (feat. "Unholy Confessions" video and "We Come Out at Night" live at Warped Tour 2003 video on included DVD)
Kerrang! - Kerrang! Awards 2006 (2006)
"Beast And The Harlot"

Miscellaneous
Zacky Vengeance owns his own clothing line, called "Zacky V. Presents..." It features the popular "Vengeance University" line, featuring shirts and belt buckles. [2].
Synyster Gates also has a clothing line due out, tentatively titled "Syn."
The Rev and Synyster were both members of the band Pinkly Smooth, formed with members of the now-extinct band Ballistico. The Rev sang and also recorded drums. Former Avenged Sevenfold bassist, Justin Sane, was also in the band.
Zacky Vengeance was a baseball player in high school and has said that if he were not in a band, he would have pursued a professional career.
The group won "Best New Artist" at the 2006 MTV Video Music Awards despite being a band since 1999.