關於 best guitar for metal ，我們在網路上蒐集到這些相關的討論、資訊與評價

Laney is the best!
คลิปทดสอบแอมป์หลอดรุ่นใหม่ IRT-SLS จาก Laney ตัวเล็กแต่กำลังขับถึง 300 วัตต์ครับ

ยังจะต้องแบกหัวแอมป์หนักๆกันต่อไปมั้ย ถ้ามีหัวแอมป์ 300 วัตต์ ใหม่ Class D ในขนาดเล็กกะทัดรัดพกพาแบบนี้ ติดตามรายะละเอียดกันด้านในเลยครับ

Laney IRT-SLS ราคา 28,900 บาท ลดพิเศษ เหลือ 23,500 บาท

สั่งซื้อทันที
Line@ BeatspotMusicShop
หรือ https://line.me/R/ti/p/%40beatspotmusicshop

วันนี้แอดมินขอพาทุกท่านไปพบกับ Head Amp ฉบับกระเป๋า ที่เหมาะกับการใช้งานทั้งการแสดงสดและการใช้งานในสตูดิโอ ที่ทาง Laney ตั้งชื่อมันว่า IRT-SLS

IRT-SLS เป็น Head Amp ที่อยู่ใน Series เดียวกันกับ Ironheart ที่หลายท่านคงจะรู้จักกันดีอยู่แล้ว และ กับ Head. Amp 60 วัตต์ และ 120 วัตต์ (IRT60H, IRT120H) และที่ยังคงได้ความนิยมอย่างต่อเนื่องก็คือ IRT-Studio ที่เล็กกระทัดรัด และสามารถทำงานที่ตอบโจทย์กับการใช้งานใน Studio และการแสดงสด และตอนนี้ ทาง Laney ได้ทำการพัฒนา Ironheart ให้เป็น Head Amp ที่มีขนาดกะทัดรัด ซึ่งมีขนาดที่เล็กมากๆ ถึงมากที่สุดของ Head Amp ที่มีขนาดกำลังชับถึง300 วัตต์นี้. ทีสามารถขับ Cabinet 4 x 12 ได้ดังสนั่น สะใจ เหลือๆ แต่สามารถพกพาไปไหนได้อย่างสะดวกสบายมากๆ ด้วยขนาดน้ำหนักเพียง 3.5 กิโลกรัมเมื่อรวมกับ Foot switch ที่แถมมาด้วยกันกับตัวเครื่องต้องบอกเลยว่า ตอบโจทย์การใช้งานได้หลากหลายแนวเพลง สำหรับการเล่นสดและการทำงานในสตูดิโอ

ลองมาลงรายละเอียดดูกันหน่อย

BRITISH DESIGN & ENGINEERING
ด้วยการออกแบบจาก. Laney ประเทศอังกฤษที่ยังคงให้ความสำคัญ กับโทนเสียงอันเป็นเอกลักษณ์ของ Amp หลอด ภาคเสียง Clean ที่สะอาดให้เสียง Modern หรือ ปรับแต่งโทนแบบดั้งเดิม และการให้เสียงแตก Gain จัดๆกับแนวMetal หนัก ๆ ได้ทำให้สามารถเลือกปรับเสียงต่างๆได้กว้าง
T-USB INTERFACE
ด้วยฟังชั่น ยอดนิยมที่มาจาก. IRT-Studio Laney ยังคงจัดกลเม็ดต่างๆมาอย่างครบครับ ทั้งการออกแบบให้ IRT-SLS เป็น USB Interface ที่สามารถต่อเข้า Direct เข้า Computer เพื่อสร้างสรรค์ผลงานเพลงได้อย่างสะดวกสบาย และยังสามารถใช้ ฟังชั่น Re-Amp ในการปรับแต่ง และแก้ไขเสียงกีตาร์ที่อัดไปได้ง่ายๆ
DUAL POWER MODE
IRT-SLS ยังมาพร้อมกับ Channel Amp ถึง 3 Channels clean, rhythm & Lead และสามารถแยกปรับ EQ ได้ 2 ชุด และสามารถเลือกโหมดของ Power ได้ 2 ชุด คือ 30-300 วัตต์ และ 1-60 วัตต์ เพื่อให้เหมาะสมกับสถานที่ที่จะนำไปใช้งาน

ลองมาชม Spec กันโดยละเอียดกันครับ
• AUX IN - MINI JACK FOR EXTERNAL SOUND SOURCE
• CD INPUT - YES (MINI JACK)
• CHANNELS - 3 - CLEAN, RHYTHM & LEAD - WITH SWITCHABLE PRE BOOST
• CLASSCLASS - D
• DI SOCKET - XLR DI OUT - CABINET EMULATED
• EQUALISATION - BASS, MIDDLE & TREBLE WITH PULL-PUSH EQ SHIFT ON EACH
• FOOTSWITCH - FS4-IRT SUPPLIED AS STANDARD - SWITCHES CHANNEL, CLEAN, REVERB & PRE BOOST
• FX LOOP(S) - YES - VARIABLE LEVEL FX LOOP
• HEADPHONE SOCKET - YES
• INPUTS - 1 X JACK
• MASTER PRESENCE CONTROL - OVERALL TONE

• POWERSTANDARD MODE - 1 - 60 WATTS RMS, HIGH POWER MODE - 3 - 300 WATTS RMS
• PREAMP - VALVES2 X ECC83
• REVERB - LANEY DESIGNED DIGITAL REVERB
• UNIT DIMS - FOR INT. CASE (HXWXD MM)70 X 320 X 235
• WEIGHT - 3.5 KG
• BOOST SWITCH - FOOTSWITCHABLE PRE BOOST
• OUTPUT ATTENUATION - 1-300 WATTS RMS
• INTERNAL DUMMY LOADSILENT RECORDING - NO NEED TO CONNECT AN EXTERNAL SPEAKER
• SPEAKER EMULATED RECORD OUT - DELIVERING VALVE TONE RECORDED AS WELL AS LIVE
• MP3 INPUTMINI JACK
• T-USB EQUIPPED - IRT-SLS SENDS DRY GUITAR (LEFT) AND AMPED GUITAR RIGHT AND IS EQUIPPED WITH A RE-AMP FUNCTION FOR USE WITH ANY DAW

สนใจชมและทดลองสินค้าได้ที่ BEATSPOT ทุกสาขา และตัวแทนจำหน่าย Laney ทั่วประเทศครับ

กรุงเทพฯ
ชั้น 3 ศูนย์การค้าฟิวเจอร์พาร์ค รังสิต 0-29580542 / 08-1710-1098
ชั้น 3 อาคารมณียา BTS ชิดลม (ทางออก 2) 0-2254-8149

ต่างจังหวัด
ชั้น 3 ศูนย์การค้าเซ็นทรัล แอร์พอร์ตพลาซา เชียงใหม่ 081-5954647, 053-278424
ชั้น 4 ศูนย์การค้าเซ็นทรัล พลาซา อุดรธานี 042-921244
ชั้น 3 ศูนย์การค้า เดอะมอลล์โคราช 094-532-4698
ชั้น 2 ศูนย์การค้า แพชชั่น ช้อปปิ้ง เดสติเนชั่น ระยอง 038- 020470
ชั้น 3 ศูนย์การค้าหัวหิน มาร์เก็ตวิลเลจ 032-526442
สุราษฎร์ธานี อยู่ตรงข้าม Honda Bigwing ถ.ในลึก-ตัดใหม่ 077-272793, 099-989-2249
ชั้น 2 บิ๊กซี ภูเก็ต 076-685325
ร้าน SOUND GALLERY 158 ถนนเยาวราช ตำบลตลาดใหญ่ อำเภอเมือง จังหวัดภูเก็ต 83000
โทร. 076-218884

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

↙[這三個傢伙是vuLner， 不是俄羅斯圈圈唷]

↙[these guys are from vulner, not RussianCircles]
──────────────────────────

Russian Circles live @ Taipei, w/ vuLner

俄羅斯圈圈要來了！
二〇一二年十月十日，就在這牆音樂藝文展演空間。

來自美國芝加哥的俄羅斯圈圈，團名取自於冰上曲棍球的練習動作。樂手編制跟vuLner一樣，可是威猛上非常多，這我們有在反省。他們從二〇〇四年來發行了四張正式專輯，但最令人印象深刻的還是充滿爆發力的現場演出。雖然只有三個人的編制，但吉他手Mike Sullivan現場精準的吉他riff looping、貝斯手Brian Cook陣仗驚人的效果器堆疊與聲響取樣，以及你絕對無法忽略的鼓手，Dave Turncrantz相當直覺衝勁十足卻又精準的打法，讓這三個人在現場演出時渀發出遠遠超過三人編制該有的聲響。另外，他們的團tee是我們穿過材質最舒服最透氣的團tee, 來看現場確定不買一件嗎？

剝惹很榮幸也很驚訝，能夠有機會為這樣級數的樂團開場，得知這消息時甚至興奮地難以入眠，當天我們會拼老命儘快把歌彈完不耽誤大家看俄羅斯圈圈的時間地（鞠躬）。


更多活動詳情與購票:
http://www.indievox.com/a/thewall/event-post/9215

http://tickets.books.com.tw/progshow/03020001019137

聽聽俄羅斯圈圈是誰：
http://russiancircles.tumblr.com/

該死的到底蝦密係vuLner？:
http://www.youtube.com/vuLnerTV
──────────────────────────

Russian Circles is coming!

We are fan boys!


First Asian concert w/ vuLner.

Live at The WALL Live House, Taipei, Oct. 10th 2012


It's a great honor for us to being the opening band for the remarkable post-metal/rock band Russian Circles. Russian circles is a trio instrumental band based on melodic guitar and bass riff sentence and powerful grooving rhythm, formed in 2004 and favored by all the indie kids in the world with their intensive live performance. Nowadays they even headlined several music event.

It's the first time they hit Taiwan, and vuLner is freaking excited to be the opening band for the show. The agitation almost killed us. By the way, Russian Circles' logo Tee shirt is the best band tee we ever wore, remember to pick one when you come to the concert.


More event details:

http://www.indievox.com/a/thewall/event-post/9215

http://tickets.books.com.tw/progshow/03020001019137

to know Russian Circles

http://russiancircles.tumblr.com/

who the heck is vuLner ?

http://www.youtube.com/vuLnerTV

──────────────────────────

【#Ayasa/#metalviolin/#cosplay】
📣Ayasa merch store
・For overseas🌎https://shop.buyee.jp/ayasa-shop?lang=en
・For domestic use 🇯🇵https://ayasa-violin.shop

2019年8月10日(土)に渋谷クラブクアトロにて開催された「HEAVY METAL鑑賞会」より、
ギタリスト・若井望さんとコラボした『PIED PIPER』のライブ映像です。
======================================================

AyasaのYouTubeチャンネル「Ayasa channel」にUPしているアニソンの中から、15曲をセレクトして収録した『ANISONG COVER NIGHT Vol.1』が各種配信サイトにて、配信スタートしました！

[ Ayasaコメント ]
▼ https://youtu.be/4y5Fecm0Pxg

=============

『ANISONG COVER NIGHT Vol.1』

[収録曲]
M1. 千本桜
M2. ”上”
M3. ライオン
M4. 六兆年と一夜物語
M5. 前前前世
M6. バイブレーション
M7. 深い森
M8. Paradisus-Paradoxum
M9. COLORS
M10. いけないボーダーライン
M11. My Dearest
M12. The Everlasting Guilty Crown
M13. VORACITY
M14. 極楽浄土
M15. KOE


■ダウンロードサービス
iTunes：https://itunes.apple.com/jp/album/id1...

Amazonデジタルミュージック：https://www.amazon.co.jp/dp/B07VBPRRPF/

Google Play Music：https://play.google.com/store/music/a...

レコチョク：http://recochoku.jp/album/A1012256651/

mora(AAC-LC 320kbps)：http://mora.jp/package/43000033/A74881/

mora(48.0kHz/24bit)：http://mora.jp/package/43000033/A74883/


■サブスクリプションサービス
Apple Music ：https://itunes.apple.com/jp/album/id1...

Spotify ：http://open.spotify.com/album/6B8PUQQ...

LINE MUSIC：https://music.line.me/launch?target=a...

Amazon Music：https://music.amazon.co.jp/albums/B07...

Google Play Music：https://play.google.com/music/m/Bytsk...

dヒッツ：https://selection.music.dmkt-sp.jp/ar...

AWA：https://s.awa.fm/album/b20de8909ebc0e...

======================================================
Ayasa6枚目のミニアルバム 「CHRONICLE Ⅵ」完成!!
https://youtu.be/KK0iY-9UpQ8


【収録曲】
M1　Mermaid Gold
Music & Arranged by Akira Sunset, APAZZI

M2　Blue Hole
Music by Akira Sunset, Naoki Endo, Ayasa
Arranged by Akira Sunset, Naoki Endo
Guitar & Bass：Naoki Endo
Chorus：Akira Sunset, KIMIKA

M3　Buffalo
Music by Carlos K., KAIKI
Arranged by Carlos K.
Ukulele & Chorus：KAIKI

M4　Hope Island
Music by Carlos K., KAIKI
Arranged by Carlos K.
Ukulele：KAIKI
Chorus：Ayasa, KAIKI

M5　Inferno
Music by Kanata Okajima, Yukitaka Kanetsuki
Arranged by Yukitaka Kanetsuki
Chorus：Kanata Okajima

【CHRONICLE Ⅵ 配信サイト】
★iTunes
https://itunes.apple.com/jp/album/id1...

★Spotify
http://open.spotify.com/album/3r0mHgf...

★Amazonデジタルミュージック
https://www.amazon.co.jp/gp/product/B...

★AmazonMusic Unlimited
https://music.amazon.co.jp/albums/B07...

★Google Play Music
https://play.google.com/store/music/a...

★レコチョク
通常+ハイレゾ：http://recochoku.jp/album/A1011912789/

★mora
通常　　：http://mora.jp/package/43000033/A72914/
ハイレゾ：http://mora.jp/package/43000033/A72916/


‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥
7月1日にミニアルバム「CHRONICLEⅦ」配信スタート!!

CHRONICLE Ⅶ

1.亡霊たちの舞踏会
2.PIED PIPER
3.終末決戦
4.見果てぬ夢
5.SWAN SONG


5 string violin：Ayasa
Guitar, Bass, Drums, Piano：宅見将典


Guest Guitar：高崎晃 from LOUDNESS (M2)
Vc：水野由紀(M3)

Composed & Produced by 宅見将典
Drum tech 渡辺幸治(NAVE-TECH)
Recorded & Mixed by 小寺秀樹
Recorded at Burnish Stone Recording Studio


Photographer: HASEO
Stylist: 川崎史裕, さくらあんず
Accessories: さくらあんず
Hair Make: Paulo Ricardo
Assistant: 速水土岐文, 吉川 みな
Special Effects Artist : ハタナカマコト(T-STUDIO)


＜各種音楽配信サイトで配信中！＞
★iTunes
https://music.apple.com/jp/album/chro...

★Spotify
https://open.spotify.com/album/3vT1Af...

★Amazonデジタルミュージック
https://www.amazon.co.jp/dp/B07SZGTB7...

★Google Play Music
https://play.google.com/store/music/a...

★レコチョク
通常+ハイレゾ：https://recochoku.jp/album/A200153353...

★mora
通常　　：https://mora.jp/package/43000033/A737...
ハイレゾ：https://mora.jp/package/43000033/A737...

【 #Ayasa : 5st #violin,ist / #cosplay】
📣Ayasa's goods/EC SHOP
・For overseas🌎https://shop.buyee.jp/ayasa-shop?lang=en
・国内🇯🇵https://ayasa-violin.shop

Ayasa channel第65弾٩(ˊωˋ*)و

今回はゲーム『機動戦隊アイアンサーガ』のオープニングテーマ、
澤野弘之様による『Sea of Fire』を弾いてみました♪

Vocalのmizuki様と澤野様による世界観が大好きなのです…！！
そしてこの曲の展開もかっこよすぎて好きだー！！！

久しぶりにフル尺で弾いてみました♪♪
是非是非楽しんで聴いて観ていただけたら嬉しいです♡



======================================================
Ayasa6枚目のミニアルバム 「CHRONICLE Ⅵ」完成!!
https://youtu.be/KK0iY-9UpQ8

5弦ヴァイオリニストAyasaのスタイリッシュな一面にスポットをあてた6枚目のミニアルバム「CHRONICLE Ⅵ」が完成した。

Carlos K、Akira Sunset、岡嶋かな多など日本を代表するクリエーター達が、このアルバムの為にオーストラリアのHope Islandでコライト合宿を決行。現地のアーティストやウクレレシンガーKAIKIなども参加してワールドミュージックを彷彿させる新しい世界観の原型が制作された。このマスターを日本に持ち帰り、約半年を掛けてAyasaや鐘撞行孝が更にトップラインなどをブラッシュアップ、ミックスをavexの気鋭 山土井誠が担当し完成に至った。

ヴィジュアルサイドはカメラマンには若くして沢山のアーティストの1stコールを受ける田中聖太郎を登用。AyasaとはLive Blu-ray以来のコラボレーションとなる。

今作はこれまでのAyasaにはなかった夏を感じさせる洋楽テイストのcool beautyな作品となった。
配信のみの販売で全世界同時に2019年6月1日予定、フィジカルの発売は無い。


【収録曲】
M1　Mermaid Gold
Music & Arranged by Akira Sunset, APAZZI

M2　Blue Hole
Music by Akira Sunset, Naoki Endo, Ayasa
Arranged by Akira Sunset, Naoki Endo
Guitar & Bass：Naoki Endo
Chorus：Akira Sunset, KIMIKA

M3　Buffalo
Music by Carlos K., KAIKI
Arranged by Carlos K.
Ukulele & Chorus：KAIKI

M4　Hope Island
Music by Carlos K., KAIKI
Arranged by Carlos K.
Ukulele：KAIKI
Chorus：Ayasa, KAIKI

M5　Inferno
Music by Kanata Okajima, Yukitaka Kanetsuki
Arranged by Yukitaka Kanetsuki
Chorus：Kanata Okajima

【CHRONICLE Ⅵ 配信サイト】
★iTunes
https://itunes.apple.com/jp/album/id1...

★Spotify
http://open.spotify.com/album/3r0mHgf...

★Amazonデジタルミュージック
https://www.amazon.co.jp/gp/product/B...

★AmazonMusic Unlimited
https://music.amazon.co.jp/albums/B07...

★Google Play Music
https://play.google.com/store/music/a...

★レコチョク
通常+ハイレゾ：http://recochoku.jp/album/A1011912789/

★mora
通常　　：http://mora.jp/package/43000033/A72914/
ハイレゾ：http://mora.jp/package/43000033/A72916/


‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥
Ayasa 7月1日にミニアルバム2ヶ月連続配信!!


5弦ヴァイオリニストのAyasaが7月1日に７枚目のミニアルバム「CHRONICLE Ⅶ」を全世界配信する。6月1日配信予定の６枚目「CHRONICLE Ⅵ」に続き、2ヶ月連続のリリースとなる。

「CHRONICLE Ⅶ」はスタイリッシュな「Ⅵ」から一転、Rock色の強い熱いアルバム。もともとAyasaは「Evanescence」や「Nightwish」をフェイバリットに上げるほどの洋楽好き。

昨年来日した「EPICA」の前座をやった折に彼らの演奏に感動し、自身もこのジャンルの作品を作ってみたいと密かに思っていたという。
そこへ欧州、北米進出の際には「シンフォニックメタル」も１つの武器になるという海外からの意見もあり、この企画がスタートした。折しも中国のSNSでオリジナルバラード「告白の夜」が10億再生され、アジア圏からのオファーが殺到する中、更なるインストの新境地を示す事になる。

今回の原盤はロス在住の宅見将典をComposer & Producerに迎え制作。M２の「PIED PIPER」にはGuest Guitarとして高崎晃(LOUDNESS)が参加している。

ビジュアルは「CHRONICLE Ⅴ」に続きクリエーターのHASEO が担当し、比類なきHASEOワールドが炸裂。正に各界の世界水準のサポートを得てAyasaのヴァイオリンも更に高いステップへと昇華している。


CHRONICLE Ⅶ

1.亡霊たちの舞踏会
2.PIED PIPER
3.終末決戦
4.見果てぬ夢
5.SWAN SONG


5 string violin：Ayasa
Guitar, Bass, Drums, Piano：宅見将典


Guest Guitar：高崎晃 from LOUDNESS (M2)
Vc：水野由紀(M3)

Composed & Produced by 宅見将典
Drum tech 渡辺幸治(NAVE-TECH)
Recorded & Mixed by 小寺秀樹
Recorded at Burnish Stone Recording Studio


Photographer: HASEO
Stylist: 川崎史裕, さくらあんず
Accessories: さくらあんず
Hair Make: Paulo Ricardo
Assistant: 速水土岐文, 吉川 みな
Special Effects Artist : ハタナカマコト(T-STUDIO)


＜各種音楽配信サイトで配信中！＞
★iTunes
https://music.apple.com/jp/album/chronicle-ep/1468459049

★Spotify
https://open.spotify.com/album/3vT1AfuflhILZpFIPw16u2?si=51tSxwHBQxuWgNceg64O0A

★Amazonデジタルミュージック
https://www.amazon.co.jp/dp/B07SZGTB7M/ref=cm_sw_r_li_awdo_c_g.mgDbDJFY87R

★Google Play Music
https://play.google.com/store/music/album?id=Bsda3fybc6d5eghz2dl76eeylxm&tid=song-Tf3k3duq6nabfmqiyut7trdn7mu

★レコチョク
通常+ハイレゾ：https://recochoku.jp/album/A2001533536/?affiliate=4299010894

★mora
通常　　：https://mora.jp/package/43000033/A73772/?trackMaterialNo=14032999
ハイレゾ：https://mora.jp/package/43000033/A73774/?trackMaterialNo=14031832


======================================================
【WARD LIVE MEDIA PRESENTS HEAVY METAL鑑賞会】

SHOW-YA / THE冠 / Ayasa / にゃんごすたー
[Special Guest] Nozomu Wakai

【日程】8月10日(土)
【会場】渋谷クラブクアトロ
【時間】開場 / 16:30　開演 / 17:30

■VIPチケット 9,500円（スタンディング/税込）
★VIPチケット特典★
①優先入場
②終演後 記念集合写真撮影 （ 寺田恵子 / 冠徹弥 / 若井望 / Ayasa / にゃんごすたー ）

■チケット 6,500円（スタンディング/税込）
※入場時ドリンク代￥600別途必要 ※3歳以上チケット必要
※出演者の変更・キャンセルに伴うチケット代の払い戻しは致しません


主催：WARD LIVE MEDIA / MASTERWORKS CORPORATION
お問い合わせ：Ward Records　0120-69-28-69（フリーダイヤル）平日12:00〜20:00 (年末年始を除く)


一般発売｜チケットぴあ：5月25日(土)10:00　（Pコード：150-950）

▼チケットのご購入(先行販売：5/10〜)・イベント詳細はオフィシャルサイトへ
http://wardrecords.com/page/special/h...

Let's workout together and burn those love handles off.
This is a simple and easy to follow workout suitable for everyone.
For best result, do 2 - 3 sets for each exercise, do this entire workout 2 - 3 times per week, swim for 30 - 40mins 3 times per week, and you'll definitely see the difference in 6 weeks time. Don't forget to eat clean, healthy and fresh!

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Lots of Love xx

‪"Music by Federico Farne (Doom Room Records):" ‬
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