Saishu

Again, he could just throw it on streaming services or sell it digitally. 

12012 and Rentrer en Soi were like echoes of each other. They both released messy and mostly uninspired “heavy” albums then started dropping minis and singles that showcased untapped potential. Then they peaced out. 

Retsu is clearly having a mental breakdown. How are downloads of Kidoairaku hindering sales when all the copies have been sold?

12012 and Rentrer en Soi were like echoes of each other. They both released messy and mostly uninspired “heavy” albums then started dropping minis and singles that showcased untapped potential. Then they peaced out. 

Retsu is clearly having a mental breakdown. How are downloads of Kidoairaku hindering sales when all the copies have been sold?

Retsu is clearly having a mental breakdown. How are downloads of Kidoairaku hindering sales when all the copies have been sold?

Or Nega
 
or Dir en grey

I fear that DIMLIM is not long for this world. 
 
Retsu is a great songwriter, but clearly a shitty businessman. I’m willing to bet that the band’s troubles rest squarely on him making poor decisions. Anyone that will bitch at fans on Instagram for finding alternate means of hearing music that was sold at one show in Japan – and NOWHERE ELSE – obviously doesn’t have their head on straight. 
 
Also, for a band that records such densely layered music to continue on playing live without a second guitarist and bass player is asinine. Retsu is clearly in too deep, and Sho and Hiroshi are probably ready to GTFO. The live shows matter; that’s what brings people in. Record sales don’t mean shit anymore, so even if DIMLIM manages to squeak out a new album, it won’t matter if they promote it with pathetic live performances. 
 
I wonder if Retsu is the type that doesn’t want any outsiders handling the music, and he just wants to do it all himself to keep his integrity or whatever. If that’s the case he needs to get over himself and find some management. 
 
the other guys probably saw this coming and that’s why they bounced. 
 
 

I fear that DIMLIM is not long for this world. 
 
Retsu is a great songwriter, but clearly a shitty businessman. I’m willing to bet that the band’s troubles rest squarely on him making poor decisions. Anyone that will bitch at fans on Instagram for finding alternate means of hearing music that was sold at one show in Japan – and NOWHERE ELSE – obviously doesn’t have their head on straight. 
 
Also, for a band that records such densely layered music to continue on playing live without a second guitarist and bass player is asinine. Retsu is clearly in too deep, and Sho and Hiroshi are probably ready to GTFO. The live shows matter; that’s what brings people in. Record sales don’t mean shit anymore, so even if DIMLIM manages to squeak out a new album, it won’t matter if they promote it with pathetic live performances. 
 
I wonder if Retsu is the type that doesn’t want any outsiders handling the music, and he just wants to do it all himself to keep his integrity or whatever. If that’s the case he needs to get over himself and find some management. 
 
the other guys probably saw this coming and that’s why they bounced. 
 
 

I fear that DIMLIM is not long for this world. 
 
Retsu is a great songwriter, but clearly a shitty businessman. I’m willing to bet that the band’s troubles rest squarely on him making poor decisions. Anyone that will bitch at fans on Instagram for finding alternate means of hearing music that was sold at one show in Japan – and NOWHERE ELSE – obviously doesn’t have their head on straight. 
 
Also, for a band that records such densely layered music to continue on playing live without a second guitarist and bass player is asinine. Retsu is clearly in too deep, and Sho and Hiroshi are probably ready to GTFO. The live shows matter; that’s what brings people in. Record sales don’t mean shit anymore, so even if DIMLIM manages to squeak out a new album, it won’t matter if they promote it with pathetic live performances. 
 
I wonder if Retsu is the type that doesn’t want any outsiders handling the music, and he just wants to do it all himself to keep his integrity or whatever. If that’s the case he needs to get over himself and find some management. 
 
the other guys probably saw this coming and that’s why they bounced. 
 
 

I fear that DIMLIM is not long for this world. 
 
Retsu is a great songwriter, but clearly a shitty businessman. I’m willing to bet that the band’s troubles rest squarely on him making poor decisions. Anyone that will bitch at fans on Instagram for finding alternate means of hearing music that was sold at one show in Japan – and NOWHERE ELSE – obviously doesn’t have their head on straight. 
 
Also, for a band that records such densely layered music to continue on playing live without a second guitarist and bass player is asinine. Retsu is clearly in too deep, and Sho and Hiroshi are probably ready to GTFO. The live shows matter; that’s what brings people in. Record sales don’t mean shit anymore, so even if DIMLIM manages to squeak out a new album, it won’t matter if they promote it with pathetic live performances. 
 
I wonder if Retsu is the type that doesn’t want any outsiders handling the music, and he just wants to do it all himself to keep his integrity or whatever. If that’s the case he needs to get over himself and find some management. 
 
the other guys probably saw this coming and that’s why they bounced. 
 
 

I fear that DIMLIM is not long for this world. 
 
Retsu is a great songwriter, but clearly a shitty businessman. I’m willing to bet that the band’s troubles rest squarely on him making poor decisions. Anyone that will bitch at fans on Instagram for finding alternate means of hearing music that was sold at one show in Japan – and NOWHERE ELSE – obviously doesn’t have their head on straight. 
 
Also, for a band that records such densely layered music to continue on playing live without a second guitarist and bass player is asinine. Retsu is clearly in too deep, and Sho and Hiroshi are probably ready to GTFO. The live shows matter; that’s what brings people in. Record sales don’t mean shit anymore, so even if DIMLIM manages to squeak out a new album, it won’t matter if they promote it with pathetic live performances. 
 
I wonder if Retsu is the type that doesn’t want any outsiders handling the music, and he just wants to do it all himself to keep his integrity or whatever. If that’s the case he needs to get over himself and find some management. 
 
the other guys probably saw this coming and that’s why they bounced. 
 
 

I fear that DIMLIM is not long for this world. 
 
Retsu is a great songwriter, but clearly a shitty businessman. I’m willing to bet that the band’s troubles rest squarely on him making poor decisions. Anyone that will bitch at fans on Instagram for finding alternate means of hearing music that was sold at one show in Japan – and NOWHERE ELSE – obviously doesn’t have their head on straight. 
 
Also, for a band that records such densely layered music to continue on playing live without a second guitarist and bass player is asinine. Retsu is clearly in too deep, and Sho and Hiroshi are probably ready to GTFO. The live shows matter; that’s what brings people in. Record sales don’t mean shit anymore, so even if DIMLIM manages to squeak out a new album, it won’t matter if they promote it with pathetic live performances. 
 
I wonder if Retsu is the type that doesn’t want any outsiders handling the music, and he just wants to do it all himself to keep his integrity or whatever. If that’s the case he needs to get over himself and find some management. 
 
the other guys probably saw this coming and that’s why they bounced. 
 
 

I fear that DIMLIM is not long for this world. 
 
Retsu is a great songwriter, but clearly a shitty businessman. I’m willing to bet that the band’s troubles rest squarely on him making poor decisions. Anyone that will bitch at fans on Instagram for finding alternate means of hearing music that was sold at one show in Japan – and NOWHERE ELSE – obviously doesn’t have their head on straight. 
 
Also, for a band that records such densely layered music to continue on playing live without a second guitarist and bass player is asinine. Retsu is clearly in too deep, and Sho and Hiroshi are probably ready to GTFO. The live shows matter; that’s what brings people in. Record sales don’t mean shit anymore, so even if DIMLIM manages to squeak out a new album, it won’t matter if they promote it with pathetic live performances. 
 
I wonder if Retsu is the type that doesn’t want any outsiders handling the music, and he just wants to do it all himself to keep his integrity or whatever. If that’s the case he needs to get over himself and find some management. 
 
the other guys probably saw this coming and that’s why they bounced. 
 
 

Guitar solo in the rework sucks

He pulls this shit live all the time, and honestly the changes he makes sometimes stink more of Lars Ulrich style laziness more than anything else. 
 
– not playing the double bass pattern in the last few bars in the chorus of Red Soil 
– skipping the hi-hat accents in the verses of Audience Killer Loop
– whatever the fuck he’s trying to do in the Shitataru Mourou intro
 
Hell, wasn’t he even not bothering to play the rimshots in Ware Yami Tote? Changing parts/ad-libbing is one thing. Just not bothering and simplifying is another. 

He pulls this shit live all the time, and honestly the changes he makes sometimes stink more of Lars Ulrich style laziness more than anything else. 
 
– not playing the double bass pattern in the last few bars in the chorus of Red Soil 
– skipping the hi-hat accents in the verses of Audience Killer Loop
– whatever the fuck he’s trying to do in the Shitataru Mourou intro
 
Hell, wasn’t he even not bothering to play the rimshots in Ware Yami Tote? Changing parts/ad-libbing is one thing. Just not bothering and simplifying is another. 

When I did my own version of Vestige of Scratches I included both Hotarubi and Zakuro. One after the other even. Which, in hindsight, probably was ill-considered, but it worked at the time. 

When I did my own version of Vestige of Scratches I included both Hotarubi and Zakuro. One after the other even. Which, in hindsight, probably was ill-considered, but it worked at the time. 

Hey I like DEG and I like TIW but this setlist is cheeks
 
Kanazawa Bunka Hall 10/11/2019
 
Zetsuentai
Keigaku no Yoku
Downfall
Devote My Life
Celebrate Empty Howls
Ningen wo Kaburu
Aka
Merciless Cult
Rubbish Heap
Keibetsu to Hajimari
Values of Madness
Ranunculus
The World of Mercy
 
Encore
Hydra -666-
Kigan
Followers
NEW AGE CULTURE
Utafumi
 
Ranunculus following Values of Madness? World of Mercy after Ranunculus? There’s no flow to this at all. 

A majority of the stuff Issei wrote is noisy trash anyway. 

Honestly, there’s no reason for it to be over eight minutes long. It’s a very VK thing to take a four minute song and stretch the drama out to six or more minutes, though, so DEG aren’t the only one guilty. 

I skimmed the first two pages of this thread and now I’m dead

What, Sukekiyo didn’t sign up for a meandering banshee howling version of Dress?

A majority of the stuff Issei wrote is noisy trash anyway.