The quick definition of Nagoya kei

Nagoya kei (名古屋系) bands are visual kei bands who were from Nagoya (名古屋) and particularly dark, gloomy, and theatrical, from roughly 1993~2004.

A brief history of Nagoya kei

1st wave: 1993~

In the early 1990s, the “two giants of Nagoya (名古屋2大巨頭)” were popular bands in the region who each inspired a different group of smaller artists. The first, Silver~Rose, was a hard rock/kurofuku kei (黒服系) band typical of the wider visual scene. The second, Kuroyume (黒夢), was different: darker, more theatrical, and violent.

The term Nagoya kei began appearing in magazines in the early 1990s, and initially could describe any band from the region. But as Kuroyume (黒夢) grew in popularity, the term was increasingly associated with their unique look and sound. The term evolved: it was not just any band from Nagoya, but for those who followed the “dark path” of Kuroyume (黒夢).

“The dark path of Kuroyume (黒夢)” is a vague phrase, especially considering that most visual kei bands are “dark” in one way or another. But there are a few hallmarks that make the meaning a bit clearer:

First, kurofuku kei (黒服系), which was the predominant style of visual kei at the time, often started from a base of “decadent beat rock, plus [xxx].” Nagoya kei bands [in the path of Kuroyume (黒夢)] often side-stepped the beat rock sound. Instead, they were more obviously inspired by bands like ASYLUM, Z.O.A, and GASTUNK.

Second, Nagoya kei was more obviously inspired by positive punk than kurofuku kei (黒服系). Positive punk pioneer AUTO-MOD was especially influential on Nagoya kei bands, and LUCIFER LUSCIOUS VIOLENOUE' had a physical connection to the scene. This influence is evident in the dark theatricality of Nagoya kei bands.

Third, compared to kote kei (コテ系) (another “dark” subgenre that formed later), Nagoya kei often created striking images by removing elements, rather than piling them on. In other words, Nagoya kei tends to lack the “more is more” mentality evident in the aesthetics of kote kei (コテ系).

It is generally agreed that the subgenre solidified around 1993, when Laputa and ROUAGE formed. The next year, Silver~Rose bassist KAIKI founded his label noir, which itself was a collaboration with the Nagoya-based indie shop YENBANYA (円盤屋). Along with livehouse MUSIC FARM, these three companies were the pillars around which the scene grew.

Which brings up another feature of Nagoya kei: it was often said to be more interconnected than the rest of the visual kei. This may be because it grew around a few companies; or because Nagoya residents have a reputation of remaining there forever; or it may have been a perception that was statistically untrue. Either way, the subgenre had a reputation of swapping members to an extreme degree.

During the production of the band's 1995 album feminism, Kuroyume (黒夢) guitarist/composer Shin (臣) left. In tandem, the band began wearing casual clothes, removed their makeup, and had a larger presence in the media. (This is said to have contributed to the start of soft visual (ソフビ).) The original Nagoya kei style, though, continued through Laputa, ROUAGE, and noir's bands.

The 1st wave of Nagoya kei is generally seen as ending around 1996, with the major debuts (and style changes) of Laputa and ROUAGE, and the closure of noir. FANATIC◇CRISIS also went major the next year, and made a more extreme pivot into soft visual (ソフビ).

2nd wave: 1998~

One could say that a lull occurred after 1996, with few “dark Nagoya kei bands” remaining active, aside from representative merry go round. But a 2nd wave started around 1998, when label Donuts Record West opened and became a new pillar around which Nagoya kei could flourish.

2nd wave Nagoya kei bands kept up with the times and did not sound exactly like the 1st wave; but they were similarly viewed as “darker than the rest of the scene.” They had a reputation of sounding especially sludgy, bass-forward, and literary; “less accessible,” and thus appealing more to “true vkei maniacs” than “face fans.”

This wave included bands like kein, Phobia, Vizell, and Lamiel, who all disbanded by 2002 (at which point Donuts Record West changed directions). But true to the [alleged] nature of Nagoya kei, they immediately tangled into new bands like deadman, GULLET, and Blast.

Depending on your personal opinion, the bands who formed in 2002 either continued the 2nd wave or created a 3rd wave. Either way, by 2004, most of those bands had also broken up, as had the long-running merry go round. Nagoya kei is generally considered to have ended at that point.

Everything else: ???

Now we address some edge cases that make Nagoya kei confusing and frustrating for novices (and fun for vkei maniacs):

First, some people consider the group of Nagoya-based bands who formed after the 2nd wave (like DEATHGAZE, lynch., and meth.) to be Nagoya kei purely because of their lineage. But this seems to be a minority opinion, as all of those fall handily into the loud kei (ラウド系) subgenre.

Second, a group of similarly-dark bands from Niigata (新潟) were explicitly referred to as Nagoya kei despite not being from Nagoya or Aichi. These were babysitter, Belle Vue, D'ELSQUEL, and Galruda. All of these were active in Nagoya, exchanged members with Nagoya bands, and were considered very similar to Nagoya kei bands in look and sound.

Third, the classification is generally extended to any follow-up band that plays the same kind of dark/gloomy/intellectual music, even if said band is active in a different area: this includes 9GOATS BLACK OUT, HOLLOWGRAM, cocklobin, and gibkiy gibkiy gibkiy.

Fourth, in very very very rare cases, the classification is extended in an honorary fashion to bands who completely exemplify the Nagoya kei look at and sound but are not related to the scene. This is mainly the case with emmurée, but also sometimes Sugar, L'eprica, and Lament..

And lastly, some bands explicitly claim to be Nagoya kei despite neither being from Nagoya, nor sounding like Nagoya kei bands. This includes ΛrlequiΩ (アルルカン), a modern orthodox visual kei band from Tokyo (but whose main composer is from Nagoya).

As a final note, Nagoya kei may have mostly ended in 2004, but occasional Nagoya kei bands have popped up in the decades since. Many of the most charismatic figures of the scene—Maco (眞呼) of deadman, Kazuma (真) of merry go round, ryo of GULLET, HINA (ヒナ) of AZALEA—are still active in Nagoya kei bands as of 2025.

Why is it called Nagoya kei?

Nagoya kei (名古屋系) {Nagoya style} literally just refers to the fact that, in the early history of visual kei, certain bands from Nagoya (名古屋) stood out as having a particular worldview and style.

Over time, the label was applied by fans to a very small number of bands who fit perfectly with the look and sound of Nagoya kei bands, but weren't actually from the region.

What are the other names for Nagoya kei?

None.

Various bands have claimed themselves as things like neo Nagoya kei (ネオ・名古屋系) {neo Nagoya style} or jisedai Nagoya kei (次世代名古屋系) {next generation Nagoya style}, but these are self-proclaimed marketing terms and not actual subgenres.

Bands from Niigata who are considered Nagoya kei are sometimes referred to as Niigata Nagoya kei (新潟名古屋系) {Niigata[-based] Nagoya style}, but considering that this group is basically three bands, there is little point in treating it as a separate subgenre.

What does Nagoya kei look like?

More theatrical than kurofuku kei (黒服系), but less costumey than kote kei (コテ系); black-and-white clothing; tight pants paired with flowing tops; in later generations, gauze or spiderweb accents (e.g. alice auaa); makeup that gives a sickly appearance.

Nagoya kei has been described as a “subtractive” aesthetic; in other words, instead of piling on elements, they are stripped back until a striking violent image remains. (In practice, it's hard to pinpoint this difference.)

Photoshoots and live stages often have influences from the theatricality of AUTO-MOD: crosses, chains, columns, mannequins, flowers, nooses, gauze. Performances are often less about being energetic on stage and more about heating up the audience through that energy; more theatrical, but inward-focused; masochistic.

What does Nagoya kei sound like?

In summary: very early Kuroyume (黒夢). Where kurofuku kei is “cool and moody”, Nagoya kei is “violent and black”. It is less associated with BUCK-TICK's beat rock and is more obviously inspired by the dark theatrics of positive punk (AUTO-MOD) and the sound of GASTUNK.

The 2nd wave, is more gloomy, bass-forward, sludgy, slow, and literary/poetic; “only appreciated by real music lovers.”

Is Nagoya kei a legitimate subgenre?

Yes, although it is one that is frequently misunderstood and miscategorized by new fans.

Nagoya kei alignments

Rock which may be inaccessible.

Conceptual, but not always focused.

Clothing pieces from specialized brands.

Strongly emotional, but often known for instrumentation.

Audience spectates but does not participate.

Suicidal, maniacal, violent, dark.

Energy often starts low and builds to violent end.

Immature themes that are made to seem more mature.

When was Nagoya kei active?

As a legitimate subgenre, roughly 1993~1996 and 1998~2004, although certain bands have been active outside of those timeframes.

What are the representative Nagoya kei bands?

Founder: Kuroyume (黒夢) (early)

1st Wave: merry go round, Laputa (early), ROUAGE (early)

2nd Wave: kein, Phobia, Vizell; deadman, GULLET, Blast

Honorary: babysitter, Galruda, cocklobin, emmurée (sometimes)

Modern: gibkiy gibkiy gibkiy, Lucifer's underground, HOLLOWGRAM

Edit History

• 2025-01-10: clarified the style change of Kuroyume (黒夢)