Drifting Into The Mysterious Space Of The Future

Mana

"When I receive letters from fans, it makes me feel saved. I live each day in fear, trembling as I go about my life."

The symbolic mark that represents the keyword "transparent spiral" could indeed be seen on stage. Now that I think about it, hasn't Malice already incorporated similarly enigmatic and symbolic elements in the past? I feel like that might be the case.

"It’s true that we’ve lightly dabbled in that before," said Mana.

The mystery, left as a mystery being able to enjoy asking, "What could it possibly mean?" feels like a test of the audience's sensibilities. The abundant mysteries in their expressions are a significant part of their charm and exploring them is an enjoyable experience.

It isn’t necessarily anything overly occult or niche. The ability to enjoy a sense of mystery is something many people naturally possess. That’s precisely why they’ve managed to gather so many fans and captivate them. After all even someone with no prior knowledge simply seeing their photos would undoubtedly find them quite mysterious. One could even say they are overwhelmingly enigmatic.

At that point whether someone leaves it at “Oh, so there are people like this” or becomes curious enough to dive into their expressions saying “I want to hear and see more,” depends on the individual’s disposition. The fact that so many people are willing to explore further is what’s driving their growing popularity. In other words, it’s proof that the number of people capable of enjoying a sense of mystery is immeasurable.

However, I’d like to delve a bit deeper into the keyword “transparent spiral.” A spiral… a spiral staircase, perhaps?

"I think many people might say 'spiral staircase,' but that’s not it," said Közi.

Then perhaps it relates to genetics, DNA…?

"Oh, that’s sharp of you. It’s somewhat along those lines, like something intertwined. But I think it’s better to leave it up to individual interpretation from here on out," said Mana. He then added the following:

"The concept for incorporating dance into the opening stage revolves around the theme of a spiral that aligns with the first song, Je te veux."

This song, Je te veux, is a new track included on the album merveilles, set to release on March 18. The music was composed by Közi. According to him:

"It has a kind of ’80s new romantic vibe (lol)."

It’s a danceable song, but by listening to it and reading the lyrics, one might catch a glimpse of the concept of the spiral.

Ah, I mustn’t forget, Mana’s mention of the opening dance. Közi had previously said:

"We decided to make it like something MAX-level (a reference to a Japanese dance group), so we practiced a ton."

But what exactly is Mana’s concept?

"An image of a B-grade idol from space in the 1980s. Probably not something most people know about (lol)."

Speaking of which, around 1981, there was talk about idols said to have come from space...

Mana and Kami, capturing precious memories with their adorable photos from years ago such as posing in front of the Statue of Hachiko or in Shibuya in the Hachiko Family Mural.

Enjoy 💜💙

- WHAT's IN? Pictorial ワッツインピクトリアル 1998年7月

All the photo credits to kamitribute

I did a translation on this magazine. If you'd like to correct me please feel free! I hope you enjoy!

"I want you to open your heart and feel. I believe that as humans, there are moments when we can feel something and change ourselves due to unexpected triggers..."

MALICE MIZER

Human Science High Sciety Syndrome

— I’ve lived this way. That’s why, after entering society and starting MALICE MIZER, I feel like I began to think about humanity. The more I think about it, the more negative I feel. Yuki, you’ve had a bit of experience as a salaryman, right?

Yu~ki: Ah, but at that time, I was surrounded by really good people, so I was very fortunate. I feel like my life has always been supported by wonderful people. However, once I entered society, I started to feel the difference between the adult world I envisioned as a child and reality. While I understand that people have their own circumstances, there were times I became almost socially anxious with each encounter. But with MALICE MIZER, there are moments when closing myself off from the world allows for better expression.

— Being blessed by people, does that mainly refer to the members?

Yu~ki: That’s right, of course.

— What about you, Kozi?

Ko: I’m very grateful. As a child, I liked sci-fi manga, and I was thinking of talking about that. However, I recently realized that the reason I started pondering questions like, "What is humanity?" is rooted in something different. It’s about dreams.

— You mean the dreams you have while sleeping?

Ko: Yes, yes. I keep having dreams with similar scenarios, so I started to wonder why. I believe dreams make us conscious of what lies in our subconscious. What exists in our subconscious is likely suppressed by our daily lives. For example, as a baby, I would cry when I was hungry, unable to suppress my desires. But as I grew older, I learned to control myself. I think that the raw essence of my consciousness is suppressed and exists in the unconscious.

— By the way, Kozi, you mentioned that you were attention-seeking in elementary school, right?

Ko: Yes, I wanted to be the star of the school play. I was also the sports committee president (laughs). I think over the years, I became more suppressed and turned into a darker person.

— In MALICE MIZER, do you think you’re trying to liberate that suppressed unconscious?

Ko: Perhaps that aspect is there. — Lastly, I’d like to reflect on the history of MALICE MIZER's performances in terms of expressing " What is humanity?"

— What kind of discussions did you have among the members?

M: Things like the flow of time—past, present, future. Is destiny predetermined? Where is the end of the universe? That sort of thing.

Ko: We used to talk about these things naturally back then.

M: Yeah, it wasn’t like, "Shall we discuss this?

— Were there expressions of "What is humanity?" in your indie-era stage performances? Perhaps in the opening?

M: Hmm, yes, in the live shows...

Ko: I put my heart into the openings (laughs). In the early days, everyone was still playing their instruments properly, so there was only the opening where we would come out empty-handed.

M: When we performed at Shinjuku Loft (a live house), in the opening, the three of us, Kozi, Kami and Yu~ki came on stage suddenly and started fighting. Of course, there was music playing in the background.

— What were you specifically trying to express with that?

M: That’s a really difficult question. Just try to imagine it (laughs).

— I kind of get it...

M: Also, in the opening, I would pull Yu~ki, who was chained, onto the stage and whip him. Yu~ki looked cold and frightened, like a doll.

— That sounds like SM play.

M: We expressed "What is humanity?" in the world of SM. At that time, we didn’t really have any happy performances. The name MALICE MIZER...

— It comes from malice and tragedy, right?

M: So, we’re trying to express the malice and tragedy that lurks deep within humanity, which is why there are many cruel elements.

— Chains were one of your signature techniques, right?

M: Also blood (laughs). In the early days, we used paint for that, but it evolved over time. We were constantly experimenting with detailed performances, setups, and stage designs from our indie days, leading to the wonderful stages of MALICE MIZER today.

Ko: It’s true that our past is what brought us to where we are now, but we’re still in the middle of experimentation. Our attitude of always trying to create something new will continue.

M: There’s no end to it. The audience is also a part of creating our stage. So I want them to open their hearts and watch and feel. I believe there are moments when people can feel something and change themselves due to unexpected triggers. I, too, didn’t know what I should do as a teenager, but I was able to change because of a certain trigger, and I sometimes receive letters from fans saying the same. I would be happy if MALICE MIZER’s CDs or live shows could serve as that trigger."

MALICE MIZER LIVE merveilles ~ The End and Fate ~ in NIPPON BUDOKAN 1998.4.1

Photograph: Hiroyuki Yoshihama

Report: Aya Yokomori

Translation:

I had heard rumors that MALICE MIZER's live performances were incredible. I had also watched a video of the live they held at Shibuya Public Hall on April 1, 1997. However, the Budokan live I witnessed in person far exceeded any expectations I had based on that prior knowledge — it was a shocking performance beyond my imagination.

As soon as I entered Budokan, my eyes widened in surprise. The stage was set like a room in a white palace, a massive two-story structure. And the music flowing through the venue was classical — I felt like shouting, “Where am I?!” Moreover, the audience was filled with people in MALICE MIZER cosplay and makeup, transforming the venue into something like a masquerade ball. At 7:18 PM the lights dimmed.

When the palace set lit up, it began to feel even more like a real mansion. That alone was enough to get my heart racing, but then the band made their grand entrance, rising from below the stage! It was so cool!! The theatrical flair of their entrance made my adrenaline surge. Furthermore, the opening featured eight real violinists. Starting the show with the sound of strings was such a sophisticated arrangement that the audience couldn't help but voice their admiration.

Of course, the lighting enhanced the drama of the performance. From the soft, classical projections cast onto the white palace, to the flashes of red and blue lights darting across the stage, each song had its own lighting scheme. For instance, during "With the Evil That Has Passed Away," the stage was bathed in a calm turquoise blue, adapting seamlessly to the mood of each song.

Amidst all the set design and stage effects, the person radiating an even stronger energy was Gackt. At times, he contorted his face in anguish, held his head in his hands or sang as though praying to a god. His vocals, filled with soul, felt like a hammer blow — I felt as though I’d been punched. His focus and intensity were astonishing fully immersing himself in the music. Gackt also treated us to his signature piano solo letting the notes soar through the vast space of Budokan.

From Vicious ヴィシャス 1998年6月

Vicious magazine June 1998

MALICE MIZER "Bel Air In the Blank Moment de l'image"

Premiere Screening

1997.9.18, Osaka Kosei Nenkin Kaikan, Middle Hall

A video screening event presented by the “art collective” Malice Mizer.

"It was just supposed to be a simple video screening yet they brought in an entire 1 ton truck full of sets. At first i thought i could go in with a casual mindset but after hearing that from the event organizer i knew i couldn't take this lightly. Malice Mizer known as an 'art collective,' has always used rock as a medium to express themselves in a conceptual manner. This 'premiere screening' was held as a pre release event for the video work Bel Air ~In the Blank Moment de l’image (de l'Image) which they filmed entirely on location in France. Of course even though it was 'just' a video screening it was full of the unique expression typical of them.

Right from the start we were surprised when the MC greeted the audience with a casual, 'Good evening, everyone!' instantly grabbing everyone’s attention... or rather drawing laughter. The host was none other than Koeda an unexpectedly unconventional choice. As expected of Malice Mizer they never do anything ordinary. Even Koeda himself seemed rather nervous, asking, 'Are we really okay here?' as the screening began.

Then as the lights dimmed a grand noble looking set appeared adorned with the light of numerous candles flickering in the background resembling the atmosphere of a royal chamber. On the chairs set on stage sat the members, dressed as the characters they played in the video. Ah, this must be why they needed a whole truck for the set.

The conversation between the MC and the members soon turned to behind the scenes stories from their time in France which were introduced one by one along with off shot footage. Throughout the night Mana remained completely silent. Apparently, he claimed to only understand French so Kozi took the liberty of speaking on his behalf.

After the video screening of Bel Air, the members gave their final greetings.

'We were able to create a great work, so I hope you’ll watch it not just once, but many times' (Gackt).

'I hope it sparks all kinds of imagination' (Kami).

In the middle of their comments Kozi mentioned the upcoming tour in December saying, 'We hope you’ll experience the new world of Malice Mizer.'

Their words combined with the fact that they brought in a 1 ton truck full of sets just for a screening, dressed in character from the video, and even chose such an unconventional MC, made it clear that their large-scale live show would be something truly special. It left many in the audience with high expectations for the upcoming live performances. There's no doubt they will deliver something beyond anything we've ever seen before.

What kind of new world will Malice Mizer reveal next?

KOZI (MALICE MIZER) ASTAN - 2005 Vol.21

Translated by my cousin (corrections are always welcome)

Malice Mizer: MALICE (MALEVOLENCE) AND MIZERE (TRAGEDY)

A comprehensive biography of this band, which is second only to X-Japan in importance within J-Rock or Visual Kei, would be too extensive. Here, we will focus on the period starting with Gackt's entry into the band.

Malice Mizer was founded in August 1992 by Mana and Közi (Kouji). After several line-up changes, the band consisted of: Gackt (vocals, piano), Mana (guitar, keyboards), Közi (guitar, violin), Kami (drums), and Yu-ki (bass) starting in August 1995.

Shortly thereafter, the group released their second album, "Voyage (sans retour)," marking a first step toward superstardom. The musicians' popularity steadily increased, attracting the attention of major record labels. Thus in 1997, MM signed with Columbia in Japan. Their first single, "Bel Air kuhaku no toki no naka de," was released followed by TV appearances and radio shows as well as the famous concert at Nihon Budokan.

In 1998, "Merveilles" was released. Malice Mizer was at the peak of their career, embodying everything associated with superstardom. Fan displays overshadowed anything conceivable, and Gackt could undoubtedly be referred to as the most popular Japanese show star at the time. The concerts were elaborate events, with costumes and staging that surpassed everything seen before. However, the fractures within the band were unmistakable. While Gackt seemed to thrive in the J-Pop Olympus the remaining members were striving for artistic quality. Disputes ensued, resulting in Gackt leaving the band in January 1999. As if that weren’t enough, drummer Kami passed away later that year due to an arterial brain hemorrhage. Following Kami's death, on September 21 1999 the band decided to take a hiatus.

Their fourth album, "bara no seidō," was released in August 2000 under an indie label, Midi:NetteM+M which was the newly established label owned by the band. The album "bara no seidō" is an epic work, heavily influenced by German classical music. Choral passages and long instrumental sections elevate this work to classic status. The trio of Mana, Közi, and Yu-ki experimented on this album without a fixed singer or drummer. This is undoubtedly the most impressive and monumental work by MM, although its reception from the audience could have been better. Perhaps under this impression, the band decided to recruit a new singer, Klaha, in August 2000. The sound shifted towards an epic and darker rock sound. With Klaha, MM returned to catchy melodies, though they were far removed from the J-Pop of the Gackt years. In my opinion, this is the best, albeit temporarily concluding, chapter of the group.

A few singles were released afterward. The last tour took place in July 2001, after which the band disbanded. Klaha began his solo career, Közi is currently active as a solo artist and as a member of Eve Of Destiny, while Mana has become a well-known figure in Japan with his own fashion line and Gothic Lolita shops. He continues to be active as a musician in his band MDM. Yu-ki is no longer prominently involved in music.

It’s also essential to look into the successor bands of Malice Mizer. I can't find anything appealing in Gackt and Klaha's solo works. I really enjoy Eve Of Destiny, as well as everything Mana releases to the public. EOD is an industrial goth band; Mana is much heavier but also more classical in orientation. Közi's solo work sounds very relaxed and somewhat French, although he writes in English.

I have met Közi several times and found him to be a somewhat shy and introverted man. However, he is a very nice guy. But that’s just a side note. What fascinates me is the band's fluctuating musical trajectory. By the time Gackt joined, the typical "growing pains" of any group had settled, and a first creative peak was reached with Gackt. The time with Gackt was the commercially most successful period, and the concerts were a dream visual event. The costumes changed multiple times during the show, and the staging would be compared to German theatrical productions.

Part 2

Groups like Rammstein would turn green with envy. Musically i find Gackt quite uninteresting. He knew how to present himself well in the spotlight but that’s about it. Gackt after Malice Mizer is nothing more than slimy, sweet-and-sour J-Pop. A nod to Herr Rohlen. Artistically an MM album like "bara no seido" is much more impressive. Some elements remind me that both Mana and Közi are great admirers of the German composer Bach. This influence is unmistakable. These influences, combined with Közi's and Mana's magnificent guitar playing, elevate "bara no seido" to a masterpiece for this group. The musicality of Malice Mizer is one of the outstanding characteristics of the Japanese band. The range of instruments spans from the standard instruments of a rock band to very European instruments such as clavichord, spinet, violin, or accordion. One might think that nothing catchy could emerge from this, but that is precisely one of the band's strengths.

Each song is assigned a style and a color. Mana represents the color blue, in which his clothing is designed. Mana is an imposing figure who can only be described as beautiful. When I first saw a video by MM, I thought the guitarist looked quite good. Not to mention, the guitarist is a male. In Japanese tradition, it is not so unusual for a man to appear feminine. Mana gives few interviews and hardly speaks in public, yet he is the creative mind behind Malice Mizer. He has perfected the Gothic Lolita style and can be understood as the counterpart to Gackt. Gackt does not wear white makeup and is considered by a large part of the female MM fans to be the quintessential fairy tale prince.

Közi represents the color red. He appears quite androgynous as an MM member. At the same time, he is aloof, reserved, and doll like fragile. Kami represents the color purple and Yu-ki represents yellow and/or orange. Noteworthy about him is his occasionally drawn-on occasionally real beard. Klaha’s color is either black or white. He later takes on Gackt's role but is much more masculine and less boyish than Gackt.

The look of this group. Malice Mizer seems to change costumes like others change underwear. It’s incredible how tastefully and stylishly Malice Mizer dressed and presented themselves. The staging on stage and in the videos is trendsetting and has not been achieved by any group known to me before or since. The transition from a metal band to a VK group and ultimately to a heavily Gothic-influenced act is marked by significant breaks. Yet, one can always recognize Malice Mizer's typical sound. For anyone who is now curious, I strongly recommend checking out the live DVDs or the group’s videos. Personally, I really enjoy the videos and music from the time with Klaha. The videos with Gackt are more colorful, vibrant and playful. I can recommend all DVDs from Malice Mizer.

The End

Közi

Since the major debut the pace of life has become very fast. I find a lot of solace in fan letters that ease my daily life.

There was indeed a group of three girls who were idols. They didn’t become a huge topic of conversation, but of course, Mana said, “Of course I know (laughs),” with a cynical smile. It seems he’s knowledgeable not just about horror, games, anime, and curry, but also about idols?

In any case, if you think about it, it’s true that many idols from the '80s had oddly inorganic characters, as the writer with experience in idol magazines thinks (laughs).

In the “Ville de merveilles: Transparent Spiral” stage, there was a solo corner for Mana, Közi, and Yu~ki as the fifth song. Amidst overflowing noise, Mana gave a performance like some kind of ritual. Combined with the concerto by Gackt and Kami that followed, it was one of the major highlights of the live show.

Mana’s costume was aptly described as a white ceremonial robe, with sleeves styled like a furisode.

Mana said, “This is also from the '80s. You get it, right?” with a knowing smile. Most readers probably don’t know, but once upon a time, a singer had a big hit with such a costume (laughs).

Anyone who has seen MALICE MIZER live knows that they have quite a sense of humor, but even during interviews, their humor sometimes comes through. However, they often tread the fine line between seriousness and humor, which is what makes it interesting, but sometimes it makes you wonder, “Is this something I shouldn’t be laughing at?”

In any case, while they are extremely sincere in their expression, it’s worth noting that they have this side as well.

Regarding his solo work, Mana said, “I feel like it has a lot of meaning. There was something spiritual about it this time,” leaving a mystery. Közi also said, “It seemed like there was something we couldn’t see,” deepening the mystery.

Symbolic marks, near-future, transparent butterflies, spiritual… Reflecting on their various words.

Their live performances are very entertaining and enjoyable, but it’s clear that they’re more than that. It’s not just the writer who feels a religious undertone in their expressions, as they always talk about pursuing “what it means to be human.” When the question was directed there, Közi laughed and said, “Everything gets encoded.”

He added, “It might sound scary. We can’t talk about much, but it might be related to that. Look forward to the day it will be revealed.”

Mana again makes a mysterious statement, but Gackt comments.

Mana and Kami, capturing precious memories with their adorable photos from years ago such as posing in front of the Statue of Hachiko or in Shibuya in the Hachiko Family Mural.

Enjoy 💜💙

MALICE MIZER - M-Gazette - November 1998 Vol.21

“Merveilles” Tour Final 98.7.22 Yokohama Arena

There was a castle, on stage, as if time was flowing backward only there… A scene encountered in the distant memories of a faraway past, evoking such an illusion… Is that place truly a part of the real world?

Does MALICE MIZER truly exist in reality?

In the world of collective imagination, where the unreliable five senses of humans mistakenly perceive, is it all a dream? Standing by the seaside where a gentle breeze flows or walking cautiously through a dark forest with no lights, always aware of what’s behind… In that instant a stage existed that could transform the scenery dramatically like the lighting that thundered fiercely in the dark night. And from above, no, as if sent from a different dimension their figures appeared in that space. And through sound, vibration, and light… everything about MALICE MIZER began to flow into our brains through every sensory organ.

“An integrated arts group,” MALICE MIZER.

Artists have their limits, musicians have their limits, directors have their limits. However, what need is there for “chic” in conveying things, events, emotions, and the world to people? “Is this a false space created by them? Are they false on stage?” Such trivial thoughts almost arise, but there is a world there. Yet, it is perhaps just showing what they can express. They have the authority over the “time” of this world.

And the lights in the castle began to fade, revealing a night sky adorned with countless stars… And the door to that space closed, while outside, the rain poured down heavily. Too many things unfolded in that brief moment and remained.

On the way back. “There’s no rain like this in a storm… maybe it’s still continuing from that place earlier.” I thought about such things as if I were running over a river in the car.

Text: Nobue Ishibashi

M GAZETTE Original MALICE MIZER Card-Type Calendar

50 readers will receive a gift.

50 readers will receive a 6-piece set of the M GAZETTE Original “MALICE MIZER Card-Type Calendar.” For details, please refer to the “Treasure Release” section on page 112.

“merveilles” — The End and Return ~TOUR-98 7.22 Yokohama Arena SET LIST

S.E. Bois de merveilles (instrumental)

M1. S-concious

M2. ILLUMINATI

M3. Np.s Ngs

M4. mana közi/Solo

M5. Gackt kami/Solo

M6. Syunikiss ~ The Second Mourning ~

M7. Nocturne Under the Moon

M8. Vel Air ~ In the Moment of Emptiness ~

M9. Dance of Death

M10. Aegean ~ With the Wind that Passed ~

M11. yu-ki/Solo

M12. Je te veux

M13. Madorigal

M14. Brise

M15. au revoir

M16. ma cherie

en. Le ciel

MALICE MIZER LIVE merveilles The End and Fate in NIPPON BUDOKAN 1998.4.1

Photograph: Hiroyuki Yoshihama

Report: Aya Yokomori

I had heard that Malice Mizer’s live performances were amazing. I had also seen the video recording of their live show at Ikenoya Public Hall on April 1, 1997.

But still, nothing could have prepared me for what I witnessed at their Budokan live show. It far exceeded anything I had imagined based on prior knowledge.

The moment I stepped into Budokan, my eyes widened in shock. The stage set was like a vast, two-story palace chamber, painted in pristine white. And to top it off, classical music was playing throughout the venue.

Where am I?!

That’s how I felt.

Everywhere I looked, fans were dressed in Malice Mizer cosplay, their faces painted with elaborate makeup. At exactly 7:18 PM, the lights dimmed, and the palace set was illuminated, making it look even more like a real mansion.

That alone was enough to make my heart race—but then, the way they made their entrance took it to another level. They rose dramatically onto the stage.

So cool!!

The extravagant, theatrical entrance sent a rush of adrenaline through me. As if that weren’t enough, the performance opened with real violinists playing live on stage. The pure sound of the strings filled the air, and the audience gasped in admiration.

Throughout the show, the visuals were breathtaking—images of Malice Mizer’s aesthetic world were projected onto the white walls of the stage, red and blue lights flashed, confetti flew through the air…

In "Kioku to Kage", the lighting shifted to a serene turquoise blue, transforming the atmosphere from one moment to the next. The power of the stage, the elaborate set, and the overall production were overwhelming.

Gackt’s performance was mesmerizing. At times, he contorted his face in anguish, clutching his head. Other times, he seemed to pray, as if offering his soul to the divine. He poured his entire being into his vocals, drawing the audience into his world. I was completely captivated.

And then, Gackt treated the audience to his signature piano solo, filling the vast Budokan with his hauntingly beautiful sound… At one point, the sound of Gackt’s piano filled the air with a heartbreaking melody.

That sound… it felt as if I were gazing out of a window into a deep, endless ocean. I don’t know why, but a scene from the movie Titanic suddenly came to mind— the image of a beautiful noblewoman’s lifeless body drifting underwater.

Then, as Kami’s drumming kicked in, the intensity of the performance escalated. But what makes Malice Mizer truly incredible is that their appeal goes beyond just gothic aesthetics and dramatic beauty. As the band switched into silver-themed outfits, the mood shifted completely.

They performed upbeat songs like Je te veux and Shûto Uwuburu, bringing a playful, almost pop-like energy to the stage. Mana, of all things, was running around the stage clutching a white teddy bear.

And then, Gackt, who had been so serious just moments before, suddenly transformed into a comedic character! In the first half of the show, he had said something profound:

"This stage may become a place that connects with your hearts." Yet later, dressed in his silver outfit, he was joking around: "Man, this outfit is seriously hot! I'm sweating like crazy!"

Then he went off on a completely bizarre tangent, he started talking about a lonely cat that wouldn’t cuddle with him.

"I thought, 'Fine, be that way! I won’t pet you anymore!'"

But then, the cat suddenly climbed onto his stomach, and he couldn’t resist exclaiming, "Ahh, it’s so cute! I love it!!"

The audience was in hysterics. Then, the atmosphere shifted again. The next performance had a distinctly gypsy-inspired rhythm, and Mana and Kozi focused on an intense theatrical performance.

They captured women dressed in white and brown, forced them into chairs, and enacted a scene that was almost chilling. The sparks from the stage effects were flying everywhere—it was surreal to witness.

After that, the band members reappeared in black, creating a completely different mood. The dramatic, intense performance that followed was mind-blowing. The sound, the movements—it felt like the entire stage was engulfed in a frenzy.

By the final moments, the entire band had gone wild. Kami threw his cymbals into the air. The bassist swung his instrument around so wildly that you could hear it colliding with the stage. The guitarist sent his guitar flying. The stage was pure chaos.

Then, a wave of "Encore!" chants erupted from the audience. Some fans even began clapping in rhythm, trying to start an encore call, but their voices were drowned out by the sheer excitement and emotion filling the venue.

That’s the power of Malice Mizer.

They don’t just put on a show—they pull raw emotion from the audience. One moment, you’re mesmerized by breathtaking beauty. The next, you’re laughing. Then, you’re in tears.

Every single emotion is drawn out and experienced through their performance. By the end, my heart was shaken to its core. I can’t even begin to describe the final scene.

All I can say is… when it ended, it truly felt like my soul had been carried away.