Saishu

See, you can hear the mouse click at the end. Surprised whoever did this didn’t leak more.

I think live tracks are mostly useless too, especially since one of the best things about DEG shows specifically is the visual aspect of it. Hearing Kyo freak out has little impact compared to actually witnessing it.

Someone was clearly clicking a mouse, so they probably just chose a random spot and hit play.

DSS has the least amount of reverb out of all of the Madsen albums. Maybe what I’m really focusing on is how Shinya’s drums sound, and in Unraveling and Arche he sounds like he’s playing at the bottom of a well.

I was going to compare Ruka to Shinya, but at least Shinya is still animated, even with his blank expression. My understanding is that Nightmare wasn’t the best environment after a while, at least in recent years up until the hiatus. Maybe he was projecting how things were all along.

I had a DVD of Nightmare’s Ultimate Circus Final live, which I believe was in 2004. He looked miserable even then. I think he was just playing the part of the stoic performer, but I’ve never seen him outside the context of Nightmare.

ReS had the potential to be fucking huge, especially considering they called it quits at such a high point with Megiddo and Takumi is just a fantastic songwriter. They were a little awkward with the heavier material, but that mostly fell on Satsuki’s almost complete inability to provide harsh vocals. Satsuki claims that ReS was forced to disband because two of the members didn’t get along and would get into physical altercations quite often. Given current events, this seems like complete bullshit. Replacing one of the troublemakers wasn’t an option? The fact that Satsuki rolled out his solo career rather quickly made me think he was the one that ended it, and I’m inclined to believe that he was in fact the problem. I think Mika played drums on Satsuki’s first mini, then after that no one was really fucking with him anymore. His complete lack of musical direction tells me maybe he felt limited creatively in ReS and wanted to move on. It’s sad really. He can’t even get musicians to play with him. Or he can’t afford to hire any, which is probably more likely. But to drag his ass up on stage and basically karakoke his way thru his catalog, he clearly doesn’t have one shred of dignity left.

DSS has my favorite production out of all DEG’s albums. Everything sounds really tight and I like the “dry” texture of everything.

Die was being a little too Cipher for his own good with that one.

It’s just like I kept seeing so many people call the album meandering and lacking structure when that really only applies to Beelzebub. There’s no verse, chorus, bridge formula, it’s just an ever evolving piece.

Most people that hated DSS when it came out most likely never heard anything past Blossoming Beelzebub.

I found the guitar stem for Die’s part in Midwife.

Yes. Hard to say considering the three songs we’ve heard are all mixed differently. And it’s more than likely Utafumi and Ningen has different mixes.

As long as there’s nothing like Midwife on there.

I don’t like MacRyanMac because he thinks everything he hears is amazing. Like, not once have I heard him actually critique the music, and he often gets too wrapped up in the video and ignores the song itself. Phoenix Splash TV pretty much just sounds like he’s reciting from Wikipedia most of the time and doesn’t even make an attempt to pronounce Japanese words (how he got “unroo” out of “Uruha” I do not know). Baldman is the perfect balance really. VK is new to him, but even listening with new ears he doesn’t gush over every song. Him having a musical background also comes thru when he gives his opinions, as he actually [gasp!] talks about things like the songwriting and the production. To be honest, reaction channels are an inherently weird concept. You’re watching people watch a thing. But they can be entertaining with the right personalities. Most of these jokers just sit there bobbing their heads in silence during the song and then give a generic thought when it’s over. That’s not entertainment at all.

Well look, we all know DEG isn’t pigeonholed into just one genre.

Not necessarily a bad thing. The more an album pushes 60+ minutes the more the possibility of there being boring filler.

Fuck

What a doofus.

I DONT!!! EVEN THINK!!! OF YOU AWWWRZZ MAH FRRREEEENNNDDD!!!

Kisou and Marrow are both raw, sound like they were recorded in tin cans, and have some of Kyo’s most vulgar lyrics. Yeah, Marrow is mostly expletives, but Kisou has weird sexual shit sprinkled around. I’d also argue that Marrow isn’t that focused on one sound. None of the ballads jive with the rest of the album. And... fuck the re-recorded Clever Sleazoid. Just because.

Expect to hear something from Sukekiyo and Decays (maybe Seraph?) in that time between album release and the tour.

THAT’S LIKE ALMOST EVERY ALBUM EVER!!!

Quite possibly the second of the two strangest albums in DEG’s catalog (the other being Kisou). That’s what happens when you write songs while touring with shitty western metalcore bands. Songwriting aside, what is up with Kyo’s harsh vocals? He is literally just screaming at the top of his lungs. Why is every other word “FUCK”? Why does the mix sound like there are no mids? Its a lot like Kisou actually.

D’erlanger came back and released, what, six albums? Dead End and Luna Sea both released two. And they’ve all been back together about as long as X Japan has been revived. That video is hilarious by the way. All of that guy’s jrock content is. Just to hear him butcher every single Japanese word and name. Not exaggerarion, in his Gazette video he pronounces Uruha “unroo”.