The quick definition of loud kei

Loud rock is an umbrella term which is used by Japanese media to refer to any modern heavy rock genre. Within visual kei, loud kei (ラウド系) refers to bands from 2004 onward who play music that is inspired by loud rock sounds (metalcore, screamo, deathcore, etc.), and who generally present as more “masculine” in their styling.

A brief history of loud kei

1st wave loud kei (2004~2007)

The Japanese rock scene outside of visual kei is generally reflective of global trends, and thus very diverse. As a shorthand to describe the plethora of new rock styles that have become popular, Japanese fans and media outlets such as Gekirock (激ロック) coined the umbrella term “loud rock.”

The visual kei scene, however, tends to be influenced by existing visual kei bands. The scene is like a walled garden where bands grow and compete among themselves, somewhat separate from global influence; a garden where only a few tastemaker bands tend to reach beyond the walls to bring in new sounds.

After formation, Dir en grey quickly became one such tastemaker.

In the first years of their career, Dir en grey were the kings of orthodox kote kei (コテ系) (the “most vkei” subgenre), but in 2002~2003 shocked fans by going in a nu metal direction with albums six Ugly and VULGAR. Nevertheless, because of the band's tastemaker status, their new sound was quickly absorbed into the garden of visual kei.

Their 2004 follow-ups, THE FINAL and 朔-saku-, pushed even further into global rock trends, and saw their kote kei costumes replaced by emo-esque suits. But just as nu metal had become viable within visual kei, this new look and sound also became accepted within the genre.

From roughly 2004~2007, bands like girugamesh (ギルガメッシュ), SADIE (サディ), and -OZ- appeared with Western-flavored sounds and saku-esque aesthetics. A particular concentration of these was found in Nagoya (名古屋), with bands like deathgaze (デスゲイズ), meth., and lynch.. We now recognize all of these as 1st wave loud kei bands.

2nd wave loud kei (2007~2012)

While the 1st wave was still nascent, Dir en grey pushed forward: they played overseas, changed their name to DIR EN GREY, and shed all traces of their early activity from their looks and music—so much so that, by 2007, many fans considered them non-visual.

And yet, DIR EN GREY were so influential to visual kei that they affected the genre from outside it. From 2007~2012, a 2nd wave of loud kei occurred which saw bands simplifying their names, switching to generic rock clothing, and pushing their music in the direction of harder metal or mixture rock.

Sometimes these changes were abrupt, and felt confusing to longtime fans. Such was the case with shiro kei (白系) darlings Rentrer en Soi (now called RENTRER EN SOI); Showa kayou kei (昭和歌謡系) pioneers Merry (メリー) (now MERRY); and kote kei (コテ系) goth act +D'espairsRay+ (now D'ESPAIRSRAY).

Looking back, these name changes and style changes were probably an attempt to reach wider audiences for a major debut, or to expand activities overseas, where there was still a bias against the flamboyance of visual kei. (For example, “visual kei band Dir en grey” was ridiculed during early overseas festivals, but “metal band DIR EN GREY” was not.)

These name and style changes had varying levels of success. girugamesh (ギルガメッシュ) (now girugämesh), for example, was fairly successful. MERRY (メリー), on the other hand, continued to try new styles. And RENTRER EN SOI disbanded after about 2 years. Regardless, there were many 2nd wave bands who were successful, and this era forcibly broadened visual kei once again, planting the seeds for a 3rd wave.

As an aside, this is the era in which a few bands appeared who played DIR EN GREY inspired music but wore prosthetics and over-the-top costumes (UnsraW being the most prominent). Some real-time fans speculated that this microtrend of masked bands might proliferate enough to become its own subgenre, but that did not happen.

3rd wave loud kei (2013~)

The start of 3rd wave loud kei can be traced back to the debut of DELUHI in 2008, a band comprised of technically-proficient musicians from non-visual backgrounds. Their sound was based in metalcore, but they integrated vkei-like choruses to create a sound that was distinct from even other loud kei bands. And unlike 2nd wave bands, they embraced visual kei looks: their costumes resembled less-colorful versions of koteosa (コテオサ) bands.

A similar story occurred in 2011 when the non-visual metal band NOCTURNAL BLOODLUST abruptly inserted themselves into the visual scene. Like DELUHI, they had a high degree of technical ability and a sound that was not yet accepted within the genre—but by switching to koteosa-esque costumes, playing at vkei venues, and adjusting their compositions to include catchy choruses, they became indisputably visual kei.

The gambit paid off not only for NOCTURNAL BLOODLUST, who became much more popular, but for visual kei itself, which was forcibly expanded to include metalcore sounds, and made all the stronger for it.

By roughly 2013, this trend became a full-blown 3rd wave of loud kei. Bands like D.I.D., FIXER, Nihilizm, and JILUKA formed one after the other, each committing to the extravagant looks and mixing styles like metalcore and deathcore with vkei flourishes.

The 3rd wave became even stronger around 2017 when bands DIMLIM, CHOKE, and NAZARE appeared. These were seen as especially visually striking, technically adept, and appealing to overseas fans. (In fact, the latter held a successful overseas tour in 2024.)

Although it doesn't fit neatly in with the rest of the loud kei narrative, it must be mentioned that both the GazettE and lynch. cultivated a particular style around the late 2010s that was a bridge between visual kei and less aggressive loud rock. Their sound and visuals (simple silhouettes with striking flourishes) became the blueprint for a small group of bands like KAKUMAY and SCAPEGOAT.

Back to the main narrative, it was also around 2017 that existing loud kei bands DEVILOOF, DEXCORE, and JILUKA adjusted their activity and shot to new popularity (with the first even going major).

Now known collectively as the “three heads of vkei metal” (V系メタル三大巨頭), they have become popular enough to achieve international recognition—and unlike 2nd wave loud kei bands, they did not have to tone down their looks to achieve it.

The popularity of DEVILOOF, DEXCORE, and JILUKA has made loud kei the biggest growing edge of visual kei; if the genre has another big break, it seems most likely to come from them or from the group of bands that have formed in their wake like NINTH IN PLUTO and DAMNED.

Why is it called loud kei?

Loud kei (ラウド系) {loud style} comes from the term loud rock (ラウドロック), which is an umbrella term used [only] by Japanese media to refer to newer rock styles like screamo and metalcore. As that group of bands became more recognized through media outlets like Gekirock (激ロック), the term was backported to visual kei to describe bands who sounded similar.

What are the other names for loud kei?

There are several lesser-used names:

The most common alternate name is kobushi kei (拳系) {fist style}, which was frequently used to describe the 1st wave, as audiences would pump their fists at lives rather than do furitsuke. The less common hageshii kei (激しい系) {violent style} was used for a similar reason.

The term abare kei (暴れ系) {raging style} was occasionally used during the same time period, but could also be used to describe koteosa (コテオサ) lives due to the frenzied audience participation that occurred at them.

Groups from the 2nd wave were sometimes referred to as Gekirock kei (激ロック) {Gekirock style} or Gekirock bands (激ロックバンド) because they seemed similar to bands who would appear in the non-visual rock magazine of the same name.

Regardless, loud kei has been the accepted term since the mid-2010s, due to its ability to describe all 3 waves in one succinct name.

What does loud kei look like?

1st wave: fitted black suits, black and white motifs, skinny ties, sneakers, blonde and black hair, masks, bandanas. Sparse but striking makeup: smudged black eyeshadow, black blood drips, black lipstick, contacts with white sclera, unusual eyelash colors.

2nd wave: almost non-visual in appearance, but clearly “rockers” (as opposed to soft visual (ソフビ)). Tight jeans, long cardigans, leather jackets, white suits, scarfs, hats. Hair is intentionally coiffed but not extreme in silhouette; generally brunette or blonde. Light beauty makeup.

3rd wave: generally recognizably visual kei. Purpose-designed kote-esque or koteosa-esque costumes with uncommon additions like hoods, masks, or goggles; mainly black but may have touches of color; vinyl, pleather, and glossy/shiny fabrics (but not glittery). One member is often conspicuously half-nude to show off especially muscular or slender physique.

What does loud kei sound like?

1st wave: global rock genres like nu metal as filtered through Dir en grey.

2nd wave: heavier metal reminiscent of DIR EN GREY after their name change, often with scream-dense vocals and a lack of typical vkei choruses.

3rd wave: directly inspired by metalcore, deathcore, and other diverse genres. Highly technically proficient with complicated songs; may feature little to no singing, except for vkei-like choruses. Arena rock as filtered through the GazettE also falls in this time period.

Is loud kei a legitimate subgenre?

Yes, although the 3 waves are distinct from one another.

Loud kei alignments

Very heavy rock, always.

Lightly fleshed-out worldviews.

Black suits or designed costumes with simple silhouettes.

Emphasizes instrumental technique above all.

Average level of interaction.

Typically angry, sad, or neutral.

Energetic but rarely manic.

Generic feelings and/or masculine power fantasies.

When was loud kei active?

1st wave: 2004~2007

2nd wave: 2007~2012

3rd wave: 2013~

What are the representative loud kei bands?

Founder: DIR EN GREY

1st wave: DEATHGAZE (デスゲイズ), girugamesh (ギルガメッシュ), SADIE (サディ)

2nd wave (style change): RENTRER EN SOI, D'ESPAIRSRAY

3rd wave (early): DELUHI, NOCTURNAL BLOODLUST

3rd wave (three metal heads): JILUKA, DEVILOOF, DEXCORE

others: the GazettE, lynch.

Edit History

• 2025-02-10: clarity
• 2025-02-10: swapped some 1st and 2nd wave examples
• 2025-02-10: clarified 2nd wave section
• 2025-02-11: clarified microtrend of prosthetics
• 2025-03-02: typos