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Messages - WeekEnder

Pages: 1 2 3
1
Toshi / Mid 2000s HoH era Toshi footage
« on: September 02, 2020, 04:31:28 PM »
Found this video. Really depressing  :-\
This was 2006, so i think that was the time Toshi was getting peak torture from HoH

https://www.youtube.com/watch?v=F7C9gLQ6pUM

2
Toshi / Re: Toshl RYUGEN NAKED VOICE 世界でいちばん熱い夏
« on: August 24, 2020, 06:52:49 PM »
I am filled with Blueblood 8)
covid cant do anything to me ;D

3
Toshi / Re: Toshl RYUGEN NAKED VOICE 世界でいちばん熱い夏
« on: August 19, 2020, 04:02:16 PM »
do you think toshi keeps his youtube comment box closed so that he can avoid X related questions and comments?

4
Pata / Re: Pata's guitar tone
« on: June 24, 2020, 05:11:31 PM »
I own many guitars, but here are some of them.

1959 manufactured by Gibson - Les Paul Standard
My favorite guitar that I used as a main. The serial number is "9 0299", commonly known as "No. 1". I bought this for $20,000 in the US where I was staying at the recording of X's album " Jealousy " (about 2.7 million yen in Japanese yen at the rate at the time). 1958 1960 made of Gibson - Les Paul Standard (aka BURST) is the most value went up vintage guitar in all of the electric guitar, according to the clerk, also famous previous owner guitarist apparently was. The pickups are the ones with the rarest value among the old PAFs, the zebra color and the reverse zebra color.
According to his memory, he bought it around December 1990, shortly after he moved to the United States, and poured most of his savings into the purchase, so if he had a guitar that he liked during his stay in Los Angeles, he would buy some. I was there, but because I bought this guitar, the funds for the purchase of other guitars were exhausted, and the guitar I bought during my stay in the end was 59 years and Old Martin described later and another Les Paul 3 in total. There were only books.
I also used PATA as the main guitar at live performances. HIDE also owns a Les Paul made in 1959, and the serial is "90297", and the serial at the time of manufacturing is the second difference from Les Paul owned by PATA, these two are produced at about the same time It was done. HIDE was mainly used only for recording, but at the end of 1993 at X JAPAN's live, only one person had a Les Paul made in 1959 and played " Joker " once.
Used in tunes with half-tone down tuning at X JAPAN live (almost all songs were tuned with half-tone down during the X era, so I often used this one for live performances).
Also known as "Honma". When making guitar choices for recording, the 59's standard is the basic, and if you want a different sound, touch other things such as custom. If that doesn't work, I'll eventually return to this main.
Even when carrying equipment on a tour or the like, he handled it with care so that he had it on his own without leaving it to others.
No longer used in live after 2010. As mentioned above, we can not leave it in, we can not insure it because it is very expensive, so we decided not to bring it outside, it became a guitar for playing at home, and from the scene where it was actually live or recording Completely retired.
The guitar has been used as the main guitar for stage and recording for a long time, but it has a feeling of use such as small scratches and dents, but there is no such dents or peeling of paint on the top, back, or neck of the body, and the body The peeling of the paint can be seen on the upper part of the back (just where the belt buckle hits), and it maintains a very beautiful state for its high frequency of use. From this fact as well, it can be seen that it has been used carefully with careful attention to transportation and handling on a daily basis.
YOSHIKI swung for warming up while putting it on the stage sleeves, and PATA turned pale but did not get angry, but it seems that the surroundings were stunned.
According to YOSHIKI, the current value (June 2016) is about 20 million yen.
When I appeared on a TV program around 1998 in the PAF era, I was told that the price of this guitar was "a house will be built in Setagaya-ku". At that time, the price of vintage Les Paul was not so high as it is now, it was a little overexpression for TV, but now more than 20 years ago, it has risen to the price that a real house is built. There is.
1955 Gibson Les Paul Gold Top
Initially it was used as a sub, but now it is used as a main. Known as "bald". It is called "bald" because it looks like it has been painted off.
Originally, when I was staying in Los Angeles for recording, a person playing PATA's guitar tech bought it for himself at a local music store. While I borrowed and used it, I liked the comfort and sound of the neck, so I used it for a while at X JAPAN live. While I was renting it, I liked it so much that I couldn't let it go, so I asked him to replace it with another Les Paul owned by PATA at that time, and it became an official PATA guitar.
At the time of purchase, the body back and neck were all gold with gold applied. The part where the right arm of the body hits is battered, and the body back and neck seem to have been sprayed by the previous owner, so the finish can not be said to be flattering, so peel off all the paint and repaint with a new gold top When I tried to remove the paint, PATA said it was cool as it was (with the paint removed), so it was not repainted.
The standard for Les Paul of this generation is that the bridge is a stop tail piece (stud bridge) and the pickup is a single coil P-90 (soap bar pickup), but at the time of purchase, the pickup is already a humbucker and the bridge is usually. It is a so-called "les Paul conversion" that has been modified to the tune / O / matic specification of the, and the neck is originally a Les Paul before 1958, though there are individual differences, it is quite thick I can see many necks, but when I bought it, it was already thinly shaved and reshaped, and PATA said, "I have a small hand and it is a little thin and easy to play, and the sound comes to the touch and I can not let it go."
Although the model of the pickup at the time of purchase is unknown, after using the original PAF on the front and Tom Holmes H450 on the rear after use, the front is still the original PAF and the rear is replaced with Tom Holmes H453.
It is generally accepted that the Les Paul before the so-called “BURST” in 1959 often uses plain maple wood without a flashy tiger heather for the body top material, but this individual is a flashy tiger. The heather maple material is used, and there is a place where the heather is as strong as No. 1 which was the main.
The tune-o-matic bridge, which had been replaced by the previous owner, had the stud bolts on the treble side of the bridge mounted slightly closer to the pickup than the normal Les Paul. It was used as it was for a long time, but around 2017, the position of the stud bolt was corrected and the position where the stud bolt was originally was also beautifully treated with wood, and now the bridge fits in almost the same position as a normal Les Paul. ing.
According to him, "The current main guitar" "It's surprisingly powerful, but it's 10 years older than Grandpa, but it's good for 10 years older (laughs)." "I like it because it feels fine and beautiful with distortion and it fits the skin, or there is a little shaky part and the code seems to come out neatly, I like it," he seems to like it a lot. I can ask.
Compared to the '59 No. 1', it sounds a little rough, probably because it has a slightly higher output than the original Vintage PAF of the Tom Holmes pickup installed in the rear, it has a sense of power and is flashy. It seems that this is the result of the feature called "eye sound".
Used in normal tuning songs such as " Rusty Nail " and " WEEK END " (late live version) at X JAPAN live, and is basically used as a main guitar for regular tuning in activities other than X as well. ..
1972 Gibson Les Paul Custom
It has been around since I was about 18 years old and is the oldest guitar in use today.
Commonly known as the "managing officer", it derives from the fact that it has always been prepared and in perfect condition where it can always produce sound in studios and live venues that produce sound.
PATA himself is not abandoned as "Managing Director" but rather as "Managing Director" or "Managing Director" with a sense of familiarity and affection.
It seems that there are many things that can be solved if you use it when you are stuck with making sounds during recording.
The pickups have been exchanged quite often so far, including experimental elements, "I put what I like at that time." Previously, Seymour Duncan's SH-11 Custom Custom and SH-4 JB There was a time when I was posting, but now I am calm with numbered PAF in the front and Tom Holmes H453 in the rear.
Before joining X, the acquaintance who was the owner at that time was converted from a guitarist to a bassist, and I got it, "I will pay the rest of the loan", I got it.
From the early X to around 90, it was used in the main, but after that, the main guitar seat was handed over to "No. 1" in 1959, and it is often used in TV appearances and recordings, on the front stage. The frequency of use has decreased, but it is also used in the PV of " IV " at the time of re-formation .
Frets are exchanged many times, consumable parts such as bridges are also exchanged, and pegs are also exchanged for Goto, and it is said that almost no original genuine parts remain. At present, PATA itself is in a situation where it is not possible to fully understand how much parts have been replaced and how many parts are genuine parts. Also, the neck is folded twice, and the serial number on the back of the head is also painted and erased during the repair, and the serial number is currently unknown.
Since the serial number is unknown, in recent years it is often written as 1973 made on paper such as guitar magazines and sometimes treated as an unknown age model, the PATA person's memory clearly states that it was made in 1972. ing.
Since "No. 1" was not used live in 1959, it has regained its position as the main guitar for semitone down tuning.
As a characteristic of the sound, "I do not know because it is a custom, but there is something like a rug that is not enough for this guy (bald)," in recent years, against the above bald that can be used almighty at the recording site. It is often used in heavy tunes that use down tunings such as 1-step lowering and drop D, which requires that ruggedness.
Explorer model made by Fernandes (Burny)
A guitar that PATA custom made for Fernandez in the mid 90's. It uses a rare wood corina, and the pickup is equipped with Tom Holmes H453 both front and rear. (Hide who played this guitar liked the timbre and asked him to make a guitar with the same specifications except the body shape, commonly known as a whale, and used it for recording, etc.). There were two types of commercially available models, the low-priced EX-85P and the same model as the original EX-240P (because it is a rare material, the body material is Honduras Mahogany instead of Corina).
With a guitar modeled after Gibson's Explorer in 1958, the head shape is not a normal banana head, but the same split head as a few prototypes (futuras) produced in the very early days is adopted, and the manufacturer logo is also printed. It is a maniac spec like PATA who likes vintage guitars, such as adopting a plate type logo called the same raised logo as the original instead of an embedded inlay.
Used at the " SCARS " and " Born To Be Free " of drop D tuning at X JAPAN live .
Fender Stratocaster , Jeff Beck model
In the old days, I was attracted to Jeff Beck and Char, and I also own some Fender guitars such as Stratocaster, Mustang , Jazzmaster , and so on.
The body color is a metallic lustrous lilac called burgundy mist, with a small head and rosewood fingerboard, and a thick neck for a strat.
Surprisingly, Strat was used more frequently than Les Paul on the first solo album "Pata". The cover of the magazine "GIGS" at the time of the album's release was a PATA figure with this strat, which was unusual.
The arpeggio played by HIDE at X JAPAN's " ART OF LIFE " was due to this strat loaned from PATA, and he said he liked it a lot.
In the film gigs of the X era, there are scenes where the telecaster is playing, but at that time it is said to be borrowed.
CF Martin Acoustic Guitar
Mainly used for recording. Made in the 1920s, the trees are dry and have a very dry and mellow tone. The guitar of "White Wind from Mr. Martin ~Pata's Nap~" composed by PATA recorded in "Jealousy" of the X era has this sound.
In my memory, I bought it around the end of April 1991. Since I bought "No. 1" in 1959 a few months ago, I was running out of funds to buy other guitars, but I wanted this guitar for a long time, so I managed to save money. I bought it.
On the X JAPAN stage, I often play acoustic guitar mainly at ToshI 's solo corner, I used an ovation electric acoustic guitar until the first dissolution on the stage, and I used Takamine 's electric acoustic guitar when reuniting in 2008. It was
At the time of 2017 acoustic live, CF Martin D-28 dreadnought made in 1968 (takamine Tri-Ax2 pickup expansion), DMP571MC-DC NS of Takamine, DMP700N of Takamine, EN-40C of Takamine are used.
In the X era, it was unclear what model it was, but when I left the guitar in my parents' house, I had an accident that broke my neck.
In addition to the above, many of the electric guitars I own, such as the Burny Les Paul model that I have been using since before X, are Gibson type guitars such as Les Paul (set neck type with humbucking pickup). Gibson SG was used when " Tears " was played in the 1993 Kouhaku Uta Gassen .

In recent years, the wine red color Gibson Les Paul Custom that was acquired after the re-formation of X JAPAN has been used on stage as well as the white color Les Paul Custom reissue model that was manufactured in 2008. All of these rear pickups are Tom Holmes. It has been replaced with a product (probably H453).

Since the latter half of the 90's, he has been using Tom Holmes pickups. Tom Holmes is a pickup brand that is deployed in individual artificial workshops in the United States, all are handmade by Mr. Tom Holmes, the volume of distribution in the market is small because mass production is not possible, and the price is also very high as a single pickup In addition to being expensive, Mr. Fishing, who is a hobbyist, interrupts pick-up production during the fishing season and is absorbed in his hobbies, which is said to be a cry for users and agents. At one point there was a distributor in Japan and it was available although it was expensive, but the distributor withdrew and almost no second-hand goods appeared in the market, and now Tom Holmes himself is almost at the production site. Since they retired from the market and received a small number of made-to-order products, the number of productions became smaller than before, so when they are occasionally put up for auction, they are traded at extremely high prices despite being used items.

I own a lot of vintage guitars, but I don't really say XX year type, I often say XX years old and XX years younger than my own age, and their usage period is Even with a long and frequently used vintage guitar, the body and neck, other than consumable parts and metal parts, do not show significant scratches or scratches such as paint peeling, and the guitar is usually handled and maintained. You can see how they are paying attention to maintenance.

Amplifier

The main amp is a Marshall 1959 made in 1968 and made in 1974 with a modified circuit system so that the mid-range is thickened by adding a master volume and send/return . It seems that he once tried a rack-type amplifier for a moment, but he said, "At one point, I tried something different, but I could program something with the power amplifier... (Rack-type amplifier But after all, it's boring and I feel relieved when I put out a marshall. Somehow, I'll definitely come back (to a marshall), so I'll do it once or twice and stop working on other amps. After all, I thought I liked this (Marshall)." Basically, two Marshalls are played at the same time, and each is made in 1974 to create the core of the sound, and in 1968 it is a setting that adds a sense of bottom and thickness, creating a sound make-up by blending the sounds of the two doing. This technique has not changed consistently since the 90s.
I got it around 90 years, and it was used as the main amplifier for the recording of X's single album "Week End" and 2nd album "Jealousy", and it has been a favorite as the immovable main amplifier for both live and recording until today.
As for the cabinet, Marshall's vintage cabinet was used from the 90's until the reorganization of X JAPAN, but in recent years, the FRIEDMAN 412 Vintage Cabinet is often used.
At the live, FRIEDMAN JJ-100 Jerry Cantrell Signature Head and Marshall Vintage Modern 2466 are set up as sub-amps.
Since the Marshall is for distortion, I have been using a high watt 70's custom 100 since the 90's when I need a clean sound, but in recent years I do not have the opportunity to use clean sound at live, from live equipment It has been removed.
effector
He seems to have no particular interest or interest in the effectors, and in the past he said, "I don't really... I'm not really interested in it, so when I'm playing live at one point, don't you just turn up the volume a little during solo?" I've been told by people, and when it's a little solo, it's a preamp that slightly adds distortion and raises the volume, isn't it? I bit it, but I like phasers and wahs. I don't know how to use delay or how to use it, so I haven't had any interest in space effectors for a long time. No, I'm sure it's a useful monk. But I don't think I can play with myself... I just don't try to play with it (laughs) Yeah, I'm tired of it, but I'm sorry if I don't have it Well, that's why I need it (I've built it into the equipment).” “If possible, it would be easier to play with a single Marshall amplifier, but it seems like this is not the case (laughs)”.
According to the word, the equipment that can be said to be an effector for changing the sound is summarized to the minimum necessary, and it is a phaser, booster, delay, wah pedal, volume pedal, whammy pedal, etc. Depending on how much you use it, other things such as noise reduction, buffer amplifier, parametric equalizer such as noise removal and correction of guitar sound are put in between.
The model of the effector was changed in that era, but the basic contents have not changed since the 90's.
As he says, "I like phasers and wahs," he has been using the early 70s vintage MXR Phase 100 since the 90s.
Currently, these effectors are collectively managed by Providence's PEC-2 (programmable switcher), and even if each effector is not turned on/off, a switcher switch is used to switch all effectors. At the live, this switcher is used while switching the sound with two units, one at the foot of PATA and one that is operated by Guitar Tech behind the stage.
Strings and picks
LA BELLA HRS-M Nickel Rounds-Medium 010-048
Jim Dunlop NYLON STANDARD .73mm (for electric)
Jim Dunlop MAX GRIP STANDARD .73mm (for acoustic)

According to him, "The strings are quite fine, and the gauge used for the guitar is completely different." However, this does not mean that the manufacturer of the string or the gauge is good, but it depends on the compatibility with the guitar, playing comfort, and tuning. It means that you are not using only one type of string depending on your usage.

Especially noticeable was the Les Paul No. 1 and the Stratocaster in 1959, which were once main, and when I got No. 1 in 1959, the tension of the strings was a little looser than other guitars, and I used to love it until then 010-046 The pitch is not stable with the gauge of, and the pitch becomes violent when picked hard, so as a countermeasure against that, I changed to a thick string to increase the tension of the string. Initially, I tried using a very thick medium gauge string like Daddario's 011-049 blues guitarist prefers, but because the string is thick, the tension of the string becomes too strong, "I sometimes feel choking when I feel bad I thought it was difficult to do so... (laughs)" and especially because the pitch string was violent on the low string side such as the 6th and 5th strings, so the treble string side was finally It is said that it has settled down to the string of 010-048 of Lavera Co., which is the same thickness and is thicker only on the bass string side.

The Stratocaster is basically a longer scale than the Les Paul, and because of its structure, the tension of the strings is stronger than the Les Paul in the normal state, so the normal 009-042, which is made of Daddario 009.5-044 And a string with a thickness between 010-046 and 010-046.

Originally, I prefer the strings made by Daddario from the old days because the strings are originally "I feel that the strings are clean and have a good hold."

As of 2019, there are very few manufacturers dealing with the gauge 010-048, and there are only a few including Labella.

It can be said that it is a special gauge with few choices because it is not in the Daddario lineup that PATA himself prefers.


When it comes to picks, I used to prefer thick, heavy-heavy teardrop-shaped picks, but from around 1994 to the present I've consistently used Jim Dunlop's thin nylon-made medium teardrop. There is. Compared to other material picks with the same thickness, it is particularly soft and wear-resistant, and has a characteristic that the attack feeling is weakened but the middle range is strong easily.For this pick, PATA says "I used to be hard However, the hardness changes a lot depending on the angle, it changes when you insert the angle a little, so at first I was a little difficult to play with riffs or fast songs, but when I get used to it I pick If you hold it short, it will become hard, and if you hold it for a long time, it will sound stupid, and I think it would be useful to get used to something other than. There aren't many people who use () (laughs)."

As the words say, from live fast crisp alternate backing and fast playing solo to stroke cutting and arpeggio using a crunch sound with a squeezed volume on the guitar side, loose and muddy blueslike in the solo corner between songs He plays various tones by changing the way he hits, holds, and plays the pick, such as naive play.

Well-known guitarists who love nylon picks include Michael Schenker and PATA's favorite Jimmy Page .


*from wikipedia.jp*

5
Heath / Re: Heath's Equipment
« on: June 24, 2020, 04:35:37 PM »
from Wikipedia jp

Bass

HEATH Base, 2011, Brazil
Fernandez WB-X
BC RICH Warlock type base used immediately after joining X JAPAN . There is an X inlay on the fretboard on the 12th fret. It was often destroyed in the live solo section at Tokyo Dome . The early TAIJI Warlock had a 4-row peg head on one side, while a 2-to-2 array peg head design was adopted. The commercially available signature model is WB-95H.
Fernandes EB-X
BC RICH Eagle type base used as main from 1993 to 1997 . With the same through-neck 5-piece body structure as the original, the black body has a pattern with two white lines. The core is used for the body and neck material . This was also destroyed in the solo corner, but many of the same were prepared. (It is also for responding to songs with different tunings.) The commercially available signature model, EB-95X, has different specifications for body material and PU.
Fernandez (Burny) PROTO-TYPE
The base used during the rehearsal of "THE LAST LIVE". It has a P-type pickup with an arched top that looks like Paul Reed Smith .
Fernandez FJB-115H
A jazz bass type bass that has been used since the dissolution of X JAPAN and has been used as the main body since the reunion . It is a bolt-on neck because it is a FENDER type base, but it is the same coloring as EB-X above. Commercially started as a HEATH model from Fernandez in 2009.
ERNIE BALL MUSICMAN STINGRAY (white)
Sound system
At "THE LAST LIVE"
MESA BOOGIE BASS 400+ (Amplifier)
MESA BOOGIE RD-1000 (cabinet)
At the time of "restart of X JAPAN attack"
AMPEG SVT-CL (amplifier)
AMPEG SVT-810E (cabinet)

6
Toshi / Re: Toshi on his YouTube channel eats Pudding. (New)
« on: June 04, 2020, 04:48:16 PM »
ngl i think Toshi has surpassed Yoshiki at this point. Yo just radiates douche energy now

7
General chat / Re: X at its peak?
« on: April 30, 2020, 07:27:44 PM »
91-93 was X's prime peak. 94 was the start of downfall imo

8
Suggestions / X freaks official translator team
« on: April 19, 2020, 03:23:18 PM »
Hey wouldn't it be great it our forum gets its own dedicated translator team? Of course built up of volunteers :D
We can get translations for X related youtube videos out there. And it will help uncovering many mystery and cool information too

9
Heath / Re: Heath's Equipment
« on: April 11, 2020, 06:02:47 PM »
uh I saw those. I was intending to update it lol
I updated the pata's and hide's one too

10
Toshi / Re: Toshi is active again (on youtube)
« on: April 11, 2020, 06:01:44 PM »
 8)
TOSHI FOR THE WIN!

11
Heath / Re: Heath's Equipment
« on: April 10, 2020, 08:35:06 PM »
bing bong ding dong reminder  ;D

12
Heath / Heath's Equipment
« on: April 09, 2020, 08:24:49 PM »
Anyone here has the list of amps and stuff heath used over the years?

13
Ra:IN / Re: Ra:IN Tour 2020 canceled
« on: April 02, 2020, 05:05:40 PM »
 :(

14
Yoshiki / Re: Yoshiki bored during corona crisis
« on: March 25, 2020, 03:50:36 PM »
https://youtu.be/lz-DoaHi3zo

Yoshiki is doing music. He must be very bored.  ;)

Yoshiki actually working on music? Well thats something rare lol

15
Toshi / Re: Toshi has definitely mastered the art of ASMR
« on: March 11, 2020, 06:11:26 PM »
Toshi left cake making and X to do this lmao

16
General chat / Re: Stab Me In The Back
« on: March 01, 2020, 04:59:38 PM »
"pet me violently" ;D ;D

17
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: March 01, 2020, 04:58:13 PM »
tbh fuck it. The matters got worse after the corona outbreak, no chance of a live performance anyways.

18
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: February 28, 2020, 03:38:46 PM »
In conclusion X ended in the most shameful way possible. Their last concert was a No audience one lmao. Fucking hell imagine if they stayed super active from 2007 to 2019 and then do a press conference and say "hey we are a bit too old to play Speed metal and we don't really want to play slow ass shit and defame the X's legacy so we will end it with love and pride". That would have been a totally respectable way to end a saga.


Yoshiki you failed us :-\

19
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: February 27, 2020, 02:36:52 PM »
Did some digging here and there. X getting together is highly unlikely tbh. Signs say that Toshi is mad about the contract system, the red swan incident , lunatic fest incident and the whole "Yoshiki is X and he is everything" system. If all of these aren't resolved they won't get back together

20
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: February 26, 2020, 04:11:57 PM »
was watching junk story last night. Saw how hide was so adamant on giving other staff members and spread beavers same footing as him, like travelling in same car,train living in same hotel, being super close to them and allowing them (actually even asking them) to play in front of him or do anything on stage. Remember, that was just a BACKING LIVE BAND.

And heres our Yoshiki, doing the exact ditto opposite even though it was supposed to be a normal band

21
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: February 23, 2020, 08:01:58 PM »
I mean X technically doesn't have "members". They are legally just musicians hired to play a bunch of lives for a certain amount of time and to appear for tv shows and stuff. It's just Yoshiki and he owns literally everything and he has the right to do anything about X himself alone, so I think others don't talk because they don't have the right to talk.

22
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: February 17, 2020, 08:40:52 PM »
a bunch of overly honey dripping EnGRiSh words ofc

23
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: February 16, 2020, 04:10:13 PM »
Harsh truth. The thing is that before 2010s toshi wasnt in good shape and all, thus he played along yoshiki and didnt question is total negative iq decisions. But Toshi now has a kickass solo career, so i think its right to say he just said fuck off to yoshiki and went in his own way.

24
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: February 10, 2020, 09:13:02 AM »
current situation says that heath and pata are ready.  While sugizo and toshi are simply ignoring everything

25
Help / Re: Unplayable X songs on spotify
« on: February 01, 2020, 05:58:00 PM »
Tried. Can't change my country :(

26
Help / Unplayable X songs on spotify
« on: January 31, 2020, 06:34:51 PM »
vanishing vision, dahlia and lotta other songs are unavailable in my country on spoitfy. Is there a way around it so that i can listen to them?

27
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: January 26, 2020, 02:37:17 PM »
Since Yoshiki literally owns everything and will grab the majority of the total income, i think it kinda describes the contract wars

28
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: January 20, 2020, 05:12:27 PM »
The stuff in this article is ditto of what i told y'all in discord. See, the members are no longer members. They are just instrumentalists who are hired for shows now, and now they are not even joining in back. X is pretty much dead. I appreciate that Yoshiki decleared not to expect anything from X for a while.

29
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: January 06, 2020, 12:01:02 PM »
seems legit. I will go through his insta and other stuff and see if theres something fishy

30
General chat / Re: X Japan : On the verge of destruction, AGAIN
« on: January 05, 2020, 06:05:58 PM »
I don't know what but something is off about this band. Maybe it's just time to say goodbye already.

I cannot imagine Toshi and Pata to be fighting to be honest. And that there is nothing X-related on Toshis social media anymore isn't proof for anything imo. And not taking pictures with other X members? Well I guess that means Sugizo isn't part of X anymore?  ;)
https://www.instagram.com/p/B6msD0Cn-kr/
Social Media can't proof these things. It's just a facade and I wouldn't believe anything that fans speculate because of it. Noone of us knows 100% what is happening.

But still sad to see this band break apart for whatever reason there might be.


I personally don't give a damn about the rumor. But the silence is scaring me :-\

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