6 Comments

  1. Maaah actually I think these articles are meant to promote the Budokan concert, not the mini-album.

    Most honestly, I really feel like Kirito(/his managers) definitely went into the new trend in music marketing: “musicians mainly get their revenue through concerts, not albums or singles releases: let’s promote the tours, albums themselves are mainly a promotion tool for concerts in the end”. This would explain why Angelo often plays new songs in concerts, as part of the normal set-list, for example (…and Pierrot did so soon before they split too, on the tour during which Freeze was released): it seems that no song is released (/recorded?) before it could be tried on stage at least a few times… for now, maybe they’ll change their way of doing in the future!

  2. Sure a live in the Budokan is a big deal, but, has Angelo made a significant enough impact to warrant the kind of coverage they are getting? Even among VK fans, the band doesn’t seem to garner the kind of fanaticism that Pierrot once did. Or do they?

    As a side note has anyone checked out the brand Kirito Ikka (I think that’s how it’s read)? You can buy an official Kirito Family Apron!

  3. Well, don’t forget that jrock in Japan is NOT jrock outside Japan. To sum up: there’s a good reason why Angelo tours big venues, ending with with Budokan in a few weeks, while even LM.C (who are beginning to have their little success… on the web) can’t do it yet. The audience I see in Japan for the Angelo concerts quite look like the one I saw when I went to Pierrot concerts in 2005: some teenagers, but also ladies who probably just got off work. While mainly teenagers go see LM.C. Which is not a surprise actually: they’re definitely making music aimed at teenagers. Meaning music that has big chances to be appreciated on the web, as most of the jrock fans on the web are… teenagers. But in Japan, the audience for jrock/visual-kei is FAR wider(/diverse): what may be true on the web, and sometimes outside Japan, isn’t automatically true inside Japan. At all.

    + Don’t forget that Pierrot never got an enormous success “among vk fans” (…on the web), yet they definitely had success in Japan. At least what is “success” for a visual-kei band… meaning that they sold lots of albulms and singles, played in large venues, such… but not so many “usual Japanese people of the street” knew about them.

    + It’s by advertising a good band that you make it famous. Not by keeping it “to those who know the style”, hoping it will get famous one day. If they(/their management) have the money for these articles, and think their latest material is worth an expensive promotion, there’s no reason why they wouldn’t do so. These magazines are not the most important magazines in Japan anyway: it’s a larger promotion than what was done for them recently, but it isn’t a suuuuuuper large astronomically expensive promotion either…

  4. This being said, something I forgot: Honestly, I think they tried getting a concert at the Budokan a little too early… I mean they’re playing in large venues, but not that -BIG- venues either… but well, will see on the day itself how many people came.

    Another thing I forgot: “success on the net” doesn’t mean “actual success”, even outside Japan. As for me, I always get an idea of a band’s success by seeing how quickly Fool’s Mates copies where “this band appears on the front page” are sold in Paris, in a Japanese library. And when Angelo is on the front page, they are sold quite quickly, really. Although it cannot be compared to how quickly Fool’s Mates with Yoshiki on the cover… disappear! *this is almost frightening, I should say*
    + As I always say: At Dir en Grey’s concert at the Olympia a few years ago (when Pierrot was still often considered as so-so when you spoke of it on the net), I did a little survey for Jmusiceuropa, as I was still working for them then. Among the questions, I asked what Japanese bands did “the person answering” prefered… and Pierrot was second! Of course it was made among the first 200 persons in the queue, meaning really fans of Japanese music, but still… it does show that the net isn’t an exact mirror of the streets, at all.

  5. Read between the lines and you’re saying that Angelo’s success is largely a residual of Pierrot’s. Versus LM.C who are seeking new, younger audiences in addition to the aiji/maya fans who originally supported them. Sure, Angelo is bound to be stronger out the gate, but LM.C has been building a new fanbase and chasing more mainstream attention by lending their songs and likenesses to anime and focusing their attention outside Japan as well. It’ll be interesting to see where the two bands are two or three years from now. i.e. does net success eventually translate into street success?

  6. Polochon

    Ah but of course LM.C will get success, they are already getting success. I’m only saying that the success (or non-success) of a band on the net isn’t necesserally proportional to its “stress success”. Especially in a case like LM.C vs. Angelo, where LM.C’s music and “world” mainly aims teenagers, meaning people who use the net -a lot-, while Angelo… couldn’t care less about the net.
    + In the end LM.C will probably get a larger audience than Angelo outside Japan, would it be only because as for now Angelo isn’t trying to do anything outside Japan while LM.C is doing the effort, but I don’t think they will get a laaaaaaaaaaarge audience -in- Japan before some time… at least I can’t think of another band aiming that audience in Japan who did venues like the Budokan. But maybe, maybe…

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