The quick definition of soft visual kei

Soft visual (ソフビ) bands are visual kei bands (primarily from 1995~2005) who intentionally look “less visual” and play pop rock that is easily digestible by general audiences. However, they are still typically identifiable compared to non-visual bands from the same era due to their visual-kei-esque song structures, and the care they put into their looks.

A brief history of soft visual

The term “visual kei” finally achieved widespread usage by 1994—but to some, it had also gained a negative connotation of “bands who look flashy because they can't play well.” As such, it was not uncommon to see popular bands denying the label.

Kuroyume (黒夢), by that time, were one of the most popular visual kei bands, and were known for their dark Nagoya kei (名古屋系) style. But with the release of their 1995 album feminism, they donned casual clothing, short hair, and makeup-less faces—some fans viewed this as an attempt to “break free” of visual kei. (In actuality, the band's new look and sound probably had more to do with the member change that preceded it.)

Despite their new toned-down look, Kuroyume (黒夢) were not excluded from visual kei as might have been expected. Instead, fans and media outlets simply adjusted their concept of the genre to include such styles.

This anecdote is often cited as a key point in the start of soft visual kei—a point in time where the border of visual kei was forcibly expanded to include bands who looked and sounded “less visual” than their predecessors.

But in fact, Kuroyume (黒夢) were part of a wider trend. From 1994~1996, vocalists from monster bands like LUNA SEA, BUCK-TICK, X JAPAN, L'Arc~en~Ciel, and ZI:KILL all cut their famously-long hair and removed their makeup. These may or may not have been attempts to “leave” visual kei, but nevertheless reinforced the elasticity of the genre.

It is sometimes said that the first soft visual band was GLAY, who formed in 1988 and followed the typical route of okeshou kei (お化粧系)~visual kei. Upon being discovered by HIDE/YOSHIKI, they made their “double debut” through EXTASY RECORDS and its major-level offshoot, Platinum Records (プラチナム・レコード): on the same day in 1994, they released an indie album, and their major debut single.

These two simultaneous releases illustrate the divide between the soft visual sound and that of visual kei proper: both were produced by YOSHIKI, and both featured the song RAIN, but the indie take of that song was left raw and authentic, while the major take was made glossy and digestible.

In other words, soft visual was not just toned-down looks, but also smoothed-over sounds made palatable to general audiences. Such sounds would [theoretically at least] give bands a shot at breaking through to mainstream audiences.

From roughly 1994~1996, there were many like GLAY who left their traditional visual kei backgrounds for a new soft visual style. But this period also saw the first “full-fledged” soft visual bands:

SOPHIA formed in 1994, and although the members' previous bands were traditional vkei, this new one was 100% soft visual. Their songs were poppy and approachable, their looks used ready-to-wear fashion, and the members used real names instead of obscure stage names. The band grew quickly, making a major debut in less than a year. Along with GLAY, they proved that “visual kei you can show to your parents” was commercially viable.

Beginning in 1996, the indie side of soft visual proliferated around Kreis Sequence Factory, Inc. bands like D≒SIRE, BLÜE, Ray; and around R・I・P RISKY INDEPENDENT PLANNING bands like L'luvia and Lastier. There was also a mini-boom in the Kansai (関西) region around bands like Ravecraft, Dear Loving, and CARESS.

In 1997 and 1998, the visual kei boom occurred. This era was the height of success for the genre: GLAY, L'Arc~en~Ciel, and hide had their first million-copy-selling releases; LUNA SEA vocalist Kawamura Ryuichi (河村隆一) had the best-selling male solo release of all time; visual kei bands consistently occupied the top of the ORICON charts; and so on.

This was also when the so-called “four heavenly kings of visual kei” (ヴィジュアル系四天王) made their major debuts and saw their highest sales. One was the super-visual MALICE MIZER, but the other three—La'cryma Christi, FANATIC◇CRISIS, and SHAZNA—fell firmly into soft visual.

Those latter three bands—La'cryma Christi, FANATIC◇CRISIS, and SHAZNA—owed their fame in part to their appearances on BreakOut!, a national TV program which began airing in 1996, which aimed to find indie bands that were popular in local regions and present them to a national audience. Many of these became stars overnight, which in turn gave BreakOut! a certain “star making” power.

BreakOut! made use of its power, and pushed one soft visual band to the national stage after another. This contributed to the visual kei boom in general, but also specifically led to an increase of soft visual bands from 1997~1998. (BreakOut! star SHAZNA is similarly credited with inspiring the formation of many new soft visual bands during that period.)

The border between soft visual and non-visual was especially nebulous during the visual kei boom, as labels were eager to associate their artists with the then-lucrative genre. Bands like THE YELLOW MONKEY and SEX MACHINEGUNS, who previously had little to do the genre, were suddenly marketed as visual—which still creates confusion and arguments about whether or not they were “truly vkei.”

Which brings up a crucial point: one of the most defining traits of visual kei bands is that they associate with visual kei. In other words, if a band appeared in SHOXX, performed in visual livehouses, or sold CDs in visual stores, they were visual kei—even if they didn't look it. Conversely, any band that “looked soft visual,” but was not in these spaces, was not visual kei.

The visual kei boom is generally seen as having ended around 1999, as the general public lost their taste for the genre. The number of soft visual bands dropped accordingly through the early 2000s. Of course, soft visual did not disappear altogether, and it was still common for visual kei bands to drop their visual aspects as soon as they made a major debut.

Janne Da Arc was one such example. After their major debut in 1999, they gradually shifted toward soft visual looks.

But from roughly 2005, there were few true soft visual bands, and fewer success stories. SID (シド) was one of the few: they started as a Showa kayou kei (昭和歌謡系) band in 2003, but essentially molded themselves into soft visual in the lead up to their major debut in 2009.

Similarly, a number of early osare kei (オサレ系) bands toned down their looks and sound as they grew, and thus osare kei (オサレ系) essentially became a modern synonym for soft visual. Of the few true soft visual bands who have formed since, most have been legacy acts of some kind. In other words, soft visual kei has been mostly-dead since the late 2000s.

A modern example of soft visual might lie in -Shintenchikaibyaku Shuudan- ZIGZAG (-真天地開闢集団-ジグザグ), who shot to popularity when its vocalist joined jpop band WANDS. One might say that their sound became soft visual, as it trended toward “anime tie-up rock.” But they did not change their look as much. This may illustrate that soft visual is “dead” in part because modern audiences are more willing to tolerate unusual looks.

Nevertheless, soft visual bands do exist as of 2025. One might classify nurié as a modern soft visual band, and some legacy acts like Dear Loving are still active.

Why is it called soft visual kei?

The term soft visual kei might have been inspired by the terms hard rock (ハードロック) and soft rock (ソフトロック): the former is musician-led rock music as we generally know it, while the latter is producer-led pop rock from the 1960s~1980s. (Note that this definition of soft rock is unique to Japan and different from what the rest of the world calls soft rock.) Soft visual kei may have been given this name as a reference to its commercial focus.

Alternatively, the term may have been coined entirely based on looks, in the sense that soft visual bands place only “soft” emphasis on their looks, while typical visual kei bands place a “hard” emphasis on their looks. This could relate back to terms like “hard shock” that were used in the early days of visual kei.

What are the other names for soft visual kei?

There are several possible permutations of the name: sofuto bijuaru kei (ソフトビジュアル系) {soft visual kei}; sofuto bijuaru (ソフトビジュアル) {soft visual}; sofubi (ソフビ) {sof[t] vi[sual]}; sofuto vijuaru kei (ソフトヴィジュアル系) {soft visual kei}; sofuto vijuaru (ソフトヴィジュアル) {soft visual}; and sofuvi (ソフヴィ) {sof[t] vi[sual]}.

However, the term that is most widely used is sofubi (ソフビ) {sof[t] vi[sual]}. Most Western fans romanize it as “soft visual” rather than “sofubi,” so we have chosen to stick to that convention (except when more context is needed, in which case we will write out “soft visual kei”).

From roughly 2005 onward, many bands who were ostensibly soft visual bands were instead referred to as osare kei (オサレ系) or kirakira kei (キラキラ系). There have been very few “true” soft visual bands since that time.

What does soft visual kei look like?

Much more basic than the typical visual band, but still a step away from a typical non-visual rock band. Minimal makeup and hairstyling to look fresh and professional. Fitted street wear or store-bought clothing; tailored suits, especially with a light 1970s aesthetic. Millennial fashion, but no more than the average pop star might wear (e.g. a tight, brightly colored shirt with silver pants and platform sneakers). In general, a single musician would not look that unusual on a city street, but a group of them might stand out.

What does soft visual kei sound like?

Catchy, poppy, accessible rock. Bands typically turned soft visual as soon as they went major, because it helped ensure that their releases would sell better. As such, whatever subgenre these bands came from, they would typically tone down any traits of it. The type of generic music that could appear as an anime theme song; “visual kei your parents can listen to.”

Is soft visual kei a legitimate visual kei subgenre?

Yes, and is the most recognized among the Japanese general public.

Soft visual kei alignments

Associated with pop, but may emphasize instruments.

Very realistic themes, sometimes to a fault.

Looks almost never appear to be designed.

Often tries to highlight ability.

Neither extreme.

Not always happy, but rarely extremely negative.

Average and approachable in energy.

Meant to appeal to everyday person, and parents.

When was soft visual kei active?

Created roughly around 1994, and had its height around the visual kei bubble of 1997~1998. It became less common around the start of the visual kei ice age in 2000, and even less so in 2005.

However, the 2nd wave of osare kei from roughly 2004~2007 is sometimes seen as a more modern version of soft visual.

What are the representative soft visual kei bands?

Representatives: GLAY, SOPHIA

Four heavenly kings: SHAZNA, La'cryma Christi, FANATIC◇CRISIS

Later: SID (シド)

Edit History

• 2025-01-21: revised several paragraphs for flow and clarity
• 2025-01-21: clarified that KUROYUME style change may have been incidental
• 2025-01-21: add sections about SOPHIA, Kreis, R.I.P, Janne Da Arc, and the visual kei boom
• 2025-01-21: clarified representative bands
• 2025-01-21: revised image selections
• 2025-01-22: typos
• 2025-02-18: typos
• 2025-02-20: typos