Saishu

DEG almost always gives nonsense for bonus material. If it’s not a song remixed with burps and farts then it’s Kyo’s studio tracks pasted over music not played by the band. 
 
At least Arche gave us And Zero and Tefu Tefu. 

Age isn’t always a factor. There are plenty of drummers that play way heavier and more technical stuff than Shinya that are in their 50s and 60s. He’s not a blast beat guy or a fast double bass guy. He’s better at grooves and using innovative tom and cymbal work. He’s awesome when he does what he’s comfortable with, but as long as DEG insists on doing br00tal songs Shinya has to adapt as best he can. 

That screaming is exactly why Kyo fucked his shit up. I mean props for going up there every night and literally just screaming uncontrollably, but harsh vocalists learn proper techniques for a reason. Kyo learned the hard way. 

Wouldn’t it be something if it came to light that Kyo’s half-deaf ass had the final say in the album mixes?
 
As for Vestige, I think the only songs that benefitted were the ones from Vulgar and WtD. 

Chill dawg

Ningen will probably have a new mix. Whether or not it’s better is up in the air. 
 
My opinion is that only the first two discs for Vestige were remastered. The stuff on the third disc sounds untouched to me. 

The vocal performance in Shigarami between the guitar solo and the second chorus is my favorite moment on the album (roughly 2:25-3:20). That shit is fucking majestic!

Wouldn’t it be something if it came to light that Kyo’s half-deaf ass had the final say in the album mixes?
 
As for Vestige, I think the only songs that benefitted were the ones from Vulgar and WtD. 

I often wonder how much the band influences the final mix. Even when they work with one mixing engineer for several projects (Tue Madsen) the quality varies. And Tue Madsen was the one that jacked up the album mix of Hageshisa so badly. 
 
Overall the main problem is too much compression, which started with Unraveling pretty much. I think everything has sounded the same ever since 2013. 

Wouldn’t it be something if it came to light that Kyo’s half-deaf ass had the final say in the album mixes?
 
As for Vestige, I think the only songs that benefitted were the ones from Vulgar and WtD. 

I never bought Skyrim even once. 
 
Also Kisaki is a fucking crook and doesn’t deserve anyone’s money. 

It means 喜(Che, pleasure)怒(do, anger)哀(a, griefs)楽(ra, joy) in Japanese which describes four basic human emotions.

This band wasn’t anything special before Issei left because they were more or less Periphery fronted by a Kyo stan. And Issei’s drum tone was garbage. Hiroshi sounds like he’s actually back there playing a real drum kit. 

So after a few listens, this clearly isn’t some sort of VK savior, but it is a super solid album. For such a young band it’s a surprisingly good grasp on modern metal, which other veteran acts seem to struggle with. 
 
I like the way it sounds. It’s polished, but there’s still just enough of a raw and organic grit left behind to not make it sound sterile. There are moments where they do that stop-start glitch thing that makes it sound like I’m listening to a corrupted file, but it isn’t overdone. Hiroshi’s drums sound really powerful, which fixes the major issue I had with Issei era Dimlim songs: his drums sounded fake as hell. 
 
Sho is impressive, but seeing as how this is his first band I fear his voice isn’t trained enough to be so acrobatic. He could be the odd duck and is balancing technique and performance, I just hope he doesn’t shred his throat in a few short years. 
 
The singles are the strongest tracks on here, but that doesn’t mean the others are weak (other than the lame SEs). Things get chaotic, but there’s more purpose behind it since the change in composers; things generally don’t feel all over the place. The aggressive parts can be a bit samey across multiple tracks – Mad (K) and the beginning of Shigarami for example – but so far it isn’t bothering me. 
 
So, yeah. Solid album. I hyped myself up quite a bit over the last two months and that’s nobody’s fault but my own. Still, I’m happy with what I got. 

So after a few listens, this clearly isn’t some sort of VK savior, but it is a super solid album. For such a young band it’s a surprisingly good grasp on modern metal, which other veteran acts seem to struggle with. 
 
I like the way it sounds. It’s polished, but there’s still just enough of a raw and organic grit left behind to not make it sound sterile. There are moments where they do that stop-start glitch thing that makes it sound like I’m listening to a corrupted file, but it isn’t overdone. Hiroshi’s drums sound really powerful, which fixes the major issue I had with Issei era Dimlim songs: his drums sounded fake as hell. 
 
Sho is impressive, but seeing as how this is his first band I fear his voice isn’t trained enough to be so acrobatic. He could be the odd duck and is balancing technique and performance, I just hope he doesn’t shred his throat in a few short years. 
 
The singles are the strongest tracks on here, but that doesn’t mean the others are weak (other than the lame SEs). Things get chaotic, but there’s more purpose behind it since the change in composers; things generally don’t feel all over the place. The aggressive parts can be a bit samey across multiple tracks – Mad (K) and the beginning of Shigarami for example – but so far it isn’t bothering me. 
 
So, yeah. Solid album. I hyped myself up quite a bit over the last two months and that’s nobody’s fault but my own. Still, I’m happy with what I got. 

This band wasn’t anything special before Issei left because they were more or less Periphery fronted by a Kyo stan. And Issei’s drum tone was garbage. Hiroshi sounds like he’s actually back there playing a real drum kit. 

This band wasn’t anything special before Issei left because they were more or less Periphery fronted by a Kyo stan. And Issei’s drum tone was garbage. Hiroshi sounds like he’s actually back there playing a real drum kit. 

Low key hoping Devote My Life has a refrain with the song title in the chorus, and the song slowly builds into Kyo squealing and changing it to “fuck my life”. 

Kisaki trying to prove that Yoshiki isn’t the only shameless dipshit in town. 

Kisaki trying to prove that Yoshiki isn’t the only shameless dipshit in town. 

I remember the re-recordings being pretty bad. Fairy Times Memory sounded flat and lifeless. 
 
This time I’m guessing they’ll just raise the levels and make everything LOUDER. 

Age isn’t always a factor. There are plenty of drummers that play way heavier and more technical stuff than Shinya that are in their 50s and 60s. He’s not a blast beat guy or a fast double bass guy. He’s better at grooves and using innovative tom and cymbal work. He’s awesome when he does what he’s comfortable with, but as long as DEG insists on doing br00tal songs Shinya has to adapt as best he can. 

Because Mao is a ZERO ahahahaha...
 
ha

Get on motherfucker!!!

Age isn’t always a factor. There are plenty of drummers that play way heavier and more technical stuff than Shinya that are in their 50s and 60s. He’s not a blast beat guy or a fast double bass guy. He’s better at grooves and using innovative tom and cymbal work. He’s awesome when he does what he’s comfortable with, but as long as DEG insists on doing br00tal songs Shinya has to adapt as best he can.