Saishu

Dogma 2.0 then.

It’s all so dorodoro

You’ll keep getting the same shit as long as Jin doesn’t just give up music altogether.

Hey the first kanji “ra” also means “gauze” ahahaha

I’ve given up trying to understand the old DEG song titles, now I want to know what the fuck “hidauta” means.

I’m cracking up right now because I dropped $60 on this damn thing and I ended up making my own “best of” anyway.

Giving Aliene Ma’riage the cold shoulder or what?

DEG isn’t doing anything out of the ordinary though. The dynamic shift from quiet to loud/gentle to heavy is a common practice in music in general. Stuff like Unknown.Despair.Lost just reminds me of old school Metallica, where they would have acoustic intros that led into full on thrash songs. Quiet verse/loud chorus was especially popular in the 90s grunge era. I guess there’s also the factor of VK/jrock bands typically not giving two shits about sticking to one style or genre. One only needs to listen to practically any MUCC album for proof of this.

The booklet is in typical tiny dark grey text on black background fashion, so scans would need to be really high quality.

I’m trying to make sense of the remastering for this compilation, and comparing the liner notes to previous albums, it looks like they tried to get the original mixing engineers to return. Like Eric Westfall mixed Cage on Gauze and he’s listed again on VoS just for Cage. Joe Chicarelli mixed Yurameki on Gauze, but he isn’t listed on VoS. Instead it’s Stan Katayama, who originally mixed Akuro no Oka, so they had him do that in addition to Yurameki. It’s interesting to say the least, but I still think the stuff on disc 3 was barely touched.

Don’t forget Ash

As far as I’m concerned Gackt didn’t do anything after Crescent.

I know. I’m not saying I’m not just as weird. Trust me, I know. But honestly, I still hear a lot of distinguishing characteristics of DEG in current stuff. Just listen to Hageshisa... only Die would throw a jangly funk lick in the chorus, or in a song like that period. I also felt like the pre-chorus in Un deux summer up Kaoru and Die’s roles in the band. Kaoru is in the left chugging away while Die is on the right doing the melodic jangly stuff. As discussed before, the only thing lately that hides what makes DEG stand out is their production choices. They used to make great, dynamic ballads, but now they sound just as loud and crunchy as the heavy stuff.

I really wonder if the screaming 15 year olds are the ones paying the band’s bills. VK/jrock fandom is fucking weird. There’s no getting around it.

Seriously. Look how much this thread blew up all because they re-released a bunch of shit we’ve been listening to for years already.

I listen to visual kei OF COURSE THERES SOMETHING MENTALLY OFF

I just stick around to see if Shinya’s drumming is going to get any worse. He’s going to be the Japanese Lars Ulrich in another ten years.

There is some truth to this. I roll my eyes and laugh pretty hard when I hear Americans shouting “ANKORE!!!” Another favorite: when Kyo went thru that phase where he changed lyrics in The Final. In Japanese lives you would see fans holding up one finger and then two during the “hitotsu futatsu” line. Well he changed that part, and a small group of people anticipated the old lyrics and held their fingers up, but Kyo left them hanging. Did you just assume my sexuality and gender?!?!

I suppose every fandom has its share of blindly devoted soldiers, but the ones with the complete lack of objectivity amaze me. In fact, I think I just answered my own question about whether or not these people actually listen to the music. I remember when Lotus came out there were people saying how nice it was to hear Kyo sing and the addition of piano was nice new touch to DEG’s style. I’m like, you dumb motherfuckers, Glass Skin wasn’t that long ago!

Worst thing about being a DEG fan that’s a grown ass man: being lumped in with the fucking weirdos that squee over everything from new haircuts to some subtle facial tics Kyo makes during an interview. Makes me wonder if any of them are actually even listening to the music.

Lol that’s literally what I said. But my understanding is that they didn’t put ain’t afraid to die on Macabre because they thought it didn’t fit thematically. Like, somehow Taiyou no Ao does with that shitty sipping-margaritas-by-the-cabana breakdown in the middle. Fuck that song.

I prefer thinking that Die just went with a shortened version of Daisuke.

Shit like this pisses me off. I also hear “you can’t even sing along to it”, as if being able to dance and sing along are the only things that qualify music as music.

How they figured Audrey fit Macabre but ain’t afraid to die didn’t is even more baffling. Only reason I can imagine ain’t afraid to die didn’t fit was because there were already three long ballads on there (not to mention Macabre’s 11 minute long ass). Know what? Fuck it! Ain’t afraid to die should have taken Taiyou no Ao’s place!

I don’t like Audrey because I think it’s repetitive. That one short riff repeated over and over drives me nuts.