blacktooth

I always got Seinfeld transition vibes from it. I really liked my first listen-through of MOO but that just took me out of it. I always tweak the tracklists of their albums and throw in single versions or B-sides. Generally I try to respect the artist's intent when it comes to album sequence, but I don't think DEG even has an intent.

I wonder which corporation was kind enough to let five aging rockers film a music video in their building's lobby for Beautiful Dirt. Also, I appreciate Kyo's efforts in bringing Zubaz back.

That dog is indubitably British.

Say, what is the source of the sample in the Berry interlude?

Posting relevant video.

Well that's because they're the best albums.

Not that I know of, but I inferred it from some sources I read a while back. Gauze was a big deal and had a hefty marketing push.

Gauze has the best mastering on any of their albums. I think it was also significantly higher budget. Please correct me if I'm wrong.

Which version of Clever Sleazoid is on here? (Which version do you like better?)

I agree. Tousei was composed with dynamics in mind! I wonder if we can fan-spam-mail them enough about their mastering.

As long as there's a balance between heavy songs and ballads, and they stop using drop tuning for everything, I'll be happy.

Dozing Green's release was closer to MOAB than Uroboros. Sitar aside, I've always felt it was more a maturation of the MOAB sound than what was to become the Uroboros sound.

That's funny because I've always remembered Rose Trims being praised as one of the best examples of Kyo's live voice. I think it's partially Uroboros nostalgia and partially because that was Kyo sounded relatively best for the era. It has some fantastic standout performances, but it really doesn't stack up against something like Blitz 5Days. Maybe it's all the candles on stage.

SPANK UND SPANK is vaguely reminiscent of Rammstein.

Record in analog dammit! My life would be complete if Dir en grey used a mellotron.

They see this as their chance to win the loudness wars. In the late 2010s. This isn't a Japanese music industry thing, is it?

They've got the glitchy electronics from Vulgar back, but the drop tuning still verges on chugfest territory. I wish they would rely less on studio magic in their newer stuff though. I actually liked their one-takes because you could at least feel the space in the recordings. edit: needs more yurayura

That's true. I completely forgot about Phenomenon today and I love that song. I want them to take an entire album in a left field direction like that though. I've yet to listen to Fukai 2018. My favorite Fukai is the one from Vulgar[ism].

I wonder if the next album will actually sound like something we've never heard from them before. They say it every time.

Oh, I remember that now. I thought they did some full acoustic version of it, but I guess not. 2013 Karasu is real cool. I like the ramping up throughout the song, but the beginning sounds too much like Knight Rider.

When did unplugged Rinkaku happen?

Have they ever done analog mastering? I wish they would. Their current stuff is so very digital.

You should get a turntable to spin that. I wonder how an analog pressing of Gauze would sound.

They've pushed out so many DVDs by now they just don't care anymore.

At a glance the artwork looks like an edgy Unknown Pleasures.