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Kaya

The success of Kaya, an openly gay, outrageously flamboyant transvestite, was a wake-up demand Japan’s notoriously conservative music industry. Delivered Tatsuya Kasei on July 17, 1983 in Tokushima, he began in music in 1999 beneath the name Hime (Princess) in the short-lived visible kei rings Meties and Isola, but his profession really began to remove when he fulfilled Hora, keyboardist from the music group Velvet Eden. Jointly in 2001 they shaped the gothic electro-industrial duo Rudolf Steiner, called following the 19th hundred years Austrian mystic. They fascinated the interest of famous manufacturer Mana — previous guitarist from the massively effective Malice Mizer — who agreed upon these to his very own label, changing their name to Schwarz Stein (pseudo-German for Dark Stone). At exactly the same time Hime transformed his stage name to Kaya, following the name from the renowned parrot karyoubinka. Kaya’s very clear, pure, yet effective tenor was specifically suitable for Hora’s dark digital music, as well as the duo’s two albums, New Vogue Kids and Artificial Hallucination, obtained cult position both in Japan and all over the world, specifically in European countries. In 2004, they break up over musical variations, disappeared from your scene for just two years, after that reunited briefly in the task Another Cell, before starting solo professions. Kaya’s solo materials mixed Schwarz Stein’s gothic trance audio with more industrial electro-pop components and affects from jazz and French chanson. Along with his decadent and explicit lyrics, sexualized stage displays where he performed with man and woman dancers and pull queens, and general public appearances while usually fully composed and attired in sophisticated rococo dresses, he targeted to demolish traditional notions of gender and sexuality. In 2006 he released the singles Kaleidoscope and Masquerade and his debut recording, Glitter, pursuing these in 2007 using the typically themed mini-album Hyakkiyagyou (Night time Parade of 100 Demons) as well as the solitary Carmilla (called for the vampiric antagonist of Sheridan Le Fanu’s eponymous novella), the to begin a series influenced by female character types from books and story, as whom he decked out in the associated promotional materials. In early 2008, followers had been astonished when Kaya authorized to Next Music, a sublabel of Common. The actual fact that a main label had used him under its wing was hailed by many as a huge revolution for the approval of homosexuality in mainstream Japanese lifestyle. Unfortunately, his main career was to become short-lived. The label released a re-recorded edition of Glitter, the mini-album Bonjour Chanson, offering covers of well-known French chansons, and three singles — two which, Chocolat and Ophelia (called for Shakespeare’s tragic heroine), had been compiled by Hora — prior to going bust another year due to fallout through the worldwide financial meltdown of 2008. Kaya refused to become deterred, nevertheless, and through the next 2 yrs kept himself active, turning his hands to writing brief stories, playing displays abroad, and launching two further conceptual singles, Awilda and Madame Rosa no Shoukan (Madame Rosa’s Brothel), motivated, respectively, with a renowned Scandinavian pirate as well as the reviled Countess Elizabeth Báthory.

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