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What is Misshitsu kei?

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OmoideNoKage
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The quick definition of Misshitsu kei

Misshitsu kei (密室系) describes bands who break certain norms of visual kei and may be seen as bizarre, anti-establishment, and/or camp, and may associate more with each other than with wider visual kei. They are especially associated with a 1999~2003 era characterized by shadowed photoshoots in city streets that seem plucked from bygone eras.

A brief history of Misshitsu kei

In the 1980s, the “indies top three (インディーズ御三家)” were bands who became so popular that they redefined how the indie scene was perceived in Japan. Each of them was associated with a particular indie label, and those three labels achieved great financial success as a consequence.

One of those labels, NAGOMU RECORDS (ナゴムレコード), was especially infamous. In the words of its founder, it was created for artists who “make music for underdogs and outcasts:” artists who were not similar to each other, except that they were too bizarre to be accepted by major labels.

It is said by some that the visual kei equivalent of the label is misshitsu neurose (密室ノイローゼ), which was founded by Sakurai Ao (桜井 青) for his band cali≠gari around 1994. However, during the band's early years, the label essentially existed just to release cali≠gari demotapes, and was not particularly influential.

But by 1998, cali≠gari had released their first album, held their first oneman, and established a successful event series called Tokyo Chikashitsu (東京地下室) {Tokyo Basement}. Over that event series, several artists began associating with the label—most famously, MUCC, who released their iconic mini-album ANTIQUE (アンティーク) through it.

And thus through pure association, a “strange” corner was carved out of the periphery of visual kei. In the words of Sakurai Ao: “it's not that we hated the [visual] scene at the time, it's just that we weren't allowed to be part of it.”

Over the next few years, more artists became associated with Misshitsu kei through the Tokyo Chikashitsu event series, through specialized minikomi like Après Guerre (アプレゲール) and CIRCUS (サァカス), and through certain livehouses like Shinjuku (新宿) LOFT and Ikebukuro (池袋) CHOP (手刀).

For most visual kei fans at the time, their understanding of Misshitsu kei was established through the seminal book Gendai Kisou Onzu Kagami (現代奇想音図鑑). It was released in 2002 and featured a range of up-and-coming bands described by publisher FOOL'S MATE as the “chronicle of a new scene beyond visual kei, free of rules, categories, and genres.”

Prominently featured were MUCC, Kagerou (蜉蝣), and MERRY (メリー), the so-called “three great families (御三家)” of visual kei. Those three had a particularly gloomy air about them at the time, and cali≠gari had a similarly gloomy affect in their photoshoots. As such Misshitsu kei has a reputation of being particularly dark; however, it might more accurate to say that they are bizarre and irreverent of the current visual scene, as opposed to the self-seriously dark like typical visual bands.

Stepping back for a moment, Plastic Tree is considered by some to be part of subgenre, as their aesthetic and shoegaze sound place them as an “outsider” of visual kei. However, they went major in 1997, and may have been “too early” to be heavily associated with the subgenre. The same is true of GUNIW TOOLS, who went major in 1996 with an extremely strange sound and look. Fans may have varying opinions about which of these qualifies as Misshitsu kei.

The height of the subgenre would have been around 2002~2003, when Gendai Kisou Onzu Kagami was published, and cali≠gari, MUCC, and Inugami CIRCUS Dan (犬神サアカス團) made their major debuts. (MERRY (メリー) debuted later, in 2005.)

Naturally, the Misshitsu kei scene at the indie level became less concentrated. By the mid-2000s, many indie Misshitsu kei bands had either broken up or—in true visual kei fashion—been organized by fans into new subgenres like osare kei (オサレ系), Showa kayou kei (昭和歌謡系), shironuri kei (白塗り系), and/or pikopiko kei (ピコピコ系).

Bands who take up Misshitsu kei themes have persisted into the 2020s, like XAA-XAA (ザアザア), Wakuraba (病葉~わくらば~), ZETSUMEI (ゼツメイ), and Kane to Juusei (鐘ト銃声), but these also tend to fall neatly into other subgenres as well.

Why is it called Misshitsu kei?

The word misshitsu (密室) literally means “locked room,” and has a vaguely spooky connotation (i.e. “behind closed doors”). Some fans say that listening to these kinds of bands gives them the feeling of being somewhere isolated and secret.

However, it's simply a shortening of the name of the label of cali≠gari, misshitsu neurose (密室ノイローゼ). Hence it is treated like a proper noun: Misshitsu kei (密室系) {Misshistu [Neurose] style}. Any feeling of isolation inspired by its music is just coincidence.

What are the other names for Misshitsu kei?

Most notably, the term “angura kei” is frequently used to describe bands of this subgenre, especially in the West. However, we do not recommend using that term because of its messy history/associations. See the list of non-subgenres for details. Suffice it to say that when someone uses the phrase “angura” they are probably referring to Misshitsu kei bands.

It is sometimes called Chikashitsu kei (地下室系) {Chikashitsu style} due to its association with bands who appeared at the Tokyo Chikashitsu (東京地下室) live event series. Some subgenre lists even separate Misshitsu kei and Chikashitsu kei into two subgenres, although none can explain what the differentiation is. Misshitsu kei is used slightly more often.

In rare cases (but more often early on), the subgenre was called NEO・NAGOMU (ネオ・ナゴム) due to its perception of continuing the spirit of NAGOMU RECORDS (ナゴムレコード).

What does Misshitsu kei look like?

Misshitsu kei is most commonly associated with the 1997~1998 looks of cali≠gari and MUCC: black smeared eyeshadow and lipstick; realistic but anachronistic clothing like school or military uniforms, or blazers; and short hairstyles like bowl cuts or buzzcuts. Photoshoots tend to be in rundown buildings or obscure city streets, usually in grayscale, and may involve vintage props such as loudspeakers, radios, record players, etc.

However, Misshitsu kei is not limited to this look; it's more about being “bizarre” compared to other visual kei bands. This may be accomplished through strange mixes of vintage fashion, queer or taboo imagery, or even something simple as facial hair.

What does Misshitsu kei sound like?

It could theoretically sound like anything that is unusual in the current visual kei scene. But most associated with the genre is moody, heavy rock with integrations of pop from the 1970s and 1980s, as well as Showa (昭和) era melodies. It often overlaps with other subgenres in sound.

Is Misshitsu kei a legitimate visual kei subgenre?

It was absolutely its own scene from roughly 1998~2004, but overlaps so strongly with Showa kayou kei, shironuri kei, pikopiko kei, and even 1st wave osare kei, that its boundaries are nebulous.

Misshitsu kei alignments

Base of rock with retro pop emphasis.

Themes often based on real world.

Repurposed retro clothing.

Neutral.

Avoids idol-like culture but ignores boundaries.

Tends toward dark or depressing, even if energetic.

Measured but occasionally boisterous.

More mature than average, but strange.

When was Misshitsu kei active?

Roughly 1998~2004, but especially around 2002~2003.

What are the representative Misshitsu kei bands?

Representatives: cali≠gari

Others: MUCC, MERRY (メリー), Inugami CIRCUS Dan (犬神サアカス團)

Honorable Mention: Plastic Tree

Modern: XAA-XAA (ザアザア), ZETSUMEI (ゼツメイ), Kane to Juusei (鐘ト銃声)

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  • 2025-01-22 typos

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What is Misshitsu kei?

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Do people also often use “eroguro kei” to refer to Misshitsu kei bands? Because I've seen the two associated in other lists before.

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Yes, that's correct. I hesitated to mention “eroguro” here because I didn't want to legitimize it (it was never considered a subgenre in Japan). However, I'll consider adding a note about that too. Thanks!

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