Saishu

He’s only hitting one cymbal. It’s one of those crashes with the big holes around it. Makes them sound like crash/splash hybrid

37 minutes ago, Seelentau said:

Don't know what it is, all I know is that I immediately noticed it as something "off" in the song.

Maybe it's just me, dunno^^

Hearing something off in DEG lives is very common, lol

35 minutes ago, Seelentau said:

At 3:32, when Kyo begins the last verse, there's a "TSCHING"-kinda sound.

I think you’re just hearing the hi-hat bleeding into the crash cymbal. 

2 hours ago, Seelentau said:

Hmm, when I listen to those albums, I don't even notice the stuff you guys always mention.

Or maybe I do, but can't accurately describe them.

 

The only thing I usually notice is when there are weird sounds in the song. For example, in the live version of Followers on the single, Shinya makes a weird sound later into the song, which I immediately noticed.

I also noticed that the intro of the CS remakse sounds weird, but I wouldn't be able to describe why.

Shinya makes a weird sound?!

6 hours ago, Nowhere Girl said:

Actually, Arche is not as bad. It's loud but has a much cleaner sound. TIW feels like they threw overdrive over everything on top of whacking it all up to '11'.

I mean, you say clean, I say sterile. I’m already on record here saying how much I hate Tue Madsen’s sound, but Arche is the best of the three DEG records he was involved with. 
 

Not to say TiW doesn’t have issues. The dynamics are fucked, but it stil sounds more organic than DSS or whatever the hell that Uroboros remaster is. 
 

at the end of the day Kisou is still the worse sounding DEG album though. 

It’s amazing that pretty much all of music has been compressed to shit for the last 20 years or so and some of us still can’t deal with it.  Like Arche is just the worse. Loud and sterile like the band is playing in a giant room with aluminum walls. 

It pisses me off that Withering to Death, one of my least favorite DEG albums, probably has some of the best production out of their entire catalog. 

They didn’t fuck up Fukai because it was played straight for the most part. All they did was use the alternate lyrics from like 2004. 
 

Kiri to Mayu 2012 is my favorite remake because all the parts are there, just rearranged in a way that’s more interesting than usual. 

As for Clever Sleazoid, I find Kyo to be the only real problem this time around. A lot of his parts sound rushed/crammed in with no real regard for the change in phrasing in the switch to Japanese. The “witherwither” part sounds less goofy, but why is it where it is?

I noticed some people said they missed the old intro riff for Clever Sleazoid, but it’s pretty much still there in the new version. 
 

I don’t understand that ending though. DEG seems to love the sudden choked off ending thing 

If I’m pointing the finger at any song on TiW then it’s probably going to be Zetsuentai for pulling the old “let’s do the fast and heavy thing one more time before we close out, boys”  yet again

Celebrate Empty Howls would have had a little more impact if Doukoku to Sarinu didn’t already exist. 

2 hours ago, Zeus said:

Nothing! That's why I don't understand why the band changed a perfectly good thing.

TMOAB version is your rerecording 

I’m more curious about the folks that like Ochita but couldn’t stand The Insulated World. 

I still think Arche is good but holy shit is that album bloated. Keep it under an hour from now on, boys 

Just hit Spotify in the US. I forgot streaming services only get the promotional edit. 
 

lame. 

Lol at tumblr freaking out because it wasn’t released simultaneously all over the world

They Obscure 2011’ed the fuck out of Clever Sleazoid. I will always prefer the original 2005 single version.  
 

Ochita is good, though I’ll need some time to process that last minute. 

18 hours ago, Seelentau said:

 

 

On a more serious note: If the song is available from 0am JP time, wouldn't that mean the EU would get it 7 hours earlier? at 5 pm Sunday?

Or how do streaming services and iTunes stuff work with timezones?

No. It gets released on the actual release date according to time zone. 

17 hours ago, benzaiten._ said:

But.... it's not their fault? the coronavirus situation in south america isn't even in their peak yet, doing the shows in this year is impossible and in the first half of 2021 here would be a naive and risky move for anyone.

They started losing traction long before the covid situation. 

45 minutes ago, Kelrya said:

True but this song just structurally feels like it’s missing a lot to be a complete song.

Oh it’s definitely not the full thing. I’m sure they trimmed several sections and omitted a few transitions here and there. Like I’ll put money on that part where the band drops out and Kyo sings over the synths being way longer. 

It’s hard to tell because they also had a promotional edit for Utafumi, which was just barely over 3 minutes. 

1 hour ago, tallulah said:

if you turn on gapless playback it doesn't hiccup, and at that point I don't really care that it's split because it doesn't make any actual difference to listening to it. it's kinda scummy, but I'm not really bothered.

Yeah, this seems like a thing that’s pretty easy to ignore. It is absolutely split up the way it is to offset the shitty way royalties are set up for streaming services, but it really is a big whatever to me. 

Why does it just sound like a reworked Ningen wo Kaburu?

FUCK!

On 6/16/2020 at 7:21 PM, suji said:

me: i wanna see miyavi

mom: we have miyavi at home

 

miyavi at home:

 

Like what the fuck did I miss? Four years ago he was riding the djent train what is this?!