Nowhere Girl

They aren't remotely similar aside from the types of instruments they use... which are typical of a metal band anyway.
 
Deftones is excellent, though.

They have over a month to relax between tours. I'm sure they'll be fine.

They have over a month to relax between tours. I'm sure they'll be fine.

suddenly the tour name makes sense

So, be a slave to predatory practices, just go support a band who have absolutely no excuse for not releasing anything besides not being able to find a singer who can handle Mana's ego and are in no way hurting for money as M10M consistently make a mint and Közi has 4 projects including a solo project going on. The only person who could use the money is probably Yu~ki, but I doubt it. This is just predatory pricing to capitalize on starved fans who will buy anything they put out and Mana knows that. When you price something this ridiculously, and it just be a single disc, blu-ray or not you're essentially making an idiot tax to see how stupid and guilbile your fan base nearly 20 years after your last release. Over $150 for a single disc release is beyond ridiculous, but people will eat it up and they'll just release the next thing with as little cotent as possible.
 
It's called minimum viable product as in, what the minimum effort someone is willing to put into a product for the maximum profit. If you price something this high, expect it to be pirated by those outside of Japan. This shit is the equivalent of virtue signaling in politics. You're no greater or better or more devout a fan just because you paid double what something is worth or everyone who buys shit on yahoo auctions or mercari would be the biggest and best fans in the world. Speak with your wallet as pandering to a band and just accepting whatever they're feeding you sends the wrong message and they'll be confused when their sales for the next one are flat if they even think about charging $200 for say, 2 discs and a photo book. The holier than thou anti-piracy sector of VK is always something to behold.
 
I'm a fucking huge DÄLLE stan, and I support the hell out of them, but if I can find stuff online, I'll download it and that saves me money and I can use that money immediately or later down the line to buy something I can't find from them or merch other than music. Supply and demand, you should buy what you want, not buy what you don't, and asking kind souls for something you don't have the money for doesn't make you a bad person, just like you paying for something doesn't make you better than those who can't or won't buy it and would rather wait for it to be available online. If someone thinks it's worth it and they have the expandable income, then good for them, whatever floats your boat, buy it, buy five, but don't shit on people who either don't have the money or think that it's NOT worth the perceived value that the band and some fans think it is. 😊
 
 

If anyone should be ashamed, it's the band for selling it at such a disgustingly high price.

If anyone should be ashamed, it's the band for selling it at such a disgustingly high price.

Mana was just mad that Gackt knew more than one chord progression 

I'd say it's worth getting, live stuff is pretty awesome and to be honest I enjoyed the documentary, actually don't remember if there were subs or not but if there weren't I can't remember enjoying it any less because of that. But I do actually understand a little Japanese, so dunno if that would have been why. But yeah I'd say it's worth a look if you're into your Dir. 👍

A lot can be said, positive and negative about the legacy of MALICE MIZER, whether it's the abrupt departure of Tetsu after just one year, the GACKT years, the untimely death of Kami or the rise and fall in the Klaha years. There's no better way to understand how MALICE MIZER went from unknown to legends of Visual Kei than to start in the beginning.
 
In the Beginning: The Era of Tetsu

 
MALICE MIZER was formed in August of 1992 when former guitarist of Matenrou, Közi joined forces with the support bassist Mana and the two recruited the former Ner-vous vocalist Tetsu, former ZE:RO bassist Yu~ki and former DATURA (not to be confused with DatuRΛ) drummer Gaz to form MALICE MIZER (a postmanteau of Malice and Misery) with a concept based on the darker side of human nature. MALICE MIZER immediately began activities and released their first demo tape SANS LOGIQUE which had foregone vocals and released Speed of Desperate on the compilation album Brain Trash which featured acts such as ALUCARD, DIE=KÜSSE, THE PIASS and Gazelle. Shortly after Brain TRASH, Gaz departed and Kami joined; Kami being the only other drummer for the band until his untimely death. MALICE MIZER released a few more demos before releasing their debut album memoire on Mana's newly founded label Midi:Nette. Tetsu then left the band at the end of 1994 with a live performance titled Cher de memoire II on December 27th.
 
Taking a Different Route: It's Gackt Time

 
MALICE MIZER went into 1995 without a vocalist, but they didn't let it stop their surge as they performed without a vocalist for a sponsored event titled Dai Goya Higeki no Bansan Vol.5 (第五夜 悲劇の晩餐 Vol.5) before Gackt officially joined the band as the new vocalist with his first performance on October 10th Karei naru Fukkatsugeki. The music of MALICE MIZER took a drastic turn and was the catalyst for the rise of Gackt as a performer and set the stage for his continued success after leaving the band as the band went from a Gothic sound to a more upbeat sound; something that became a signature of Gackt's solo career. In 1996 MALICE MIZER released their second album Voyage sans retour and underwent a nationwide one-man tour culminating in a show titled Sans retour Voyage deux 1996. MALICE MIZER continued their stride in 1997 when they signed a contract with major label Nippon Columbia, a subsidiary of Columbia Music Company as well as undergoing a sold-out nationwide tour with STANDING TOUR '97 Pays de merveilles ~空白の瞬間の中で~ and a regularly broadcast radio show MALICE MIZER no Mayonaka no s'il vous plaît on CBC Radio. Merveilles, MALICE MIZER's third album and second featuring Gackt as vocalist is released in March of 1998, the band announced merveilles ~Shuuen to kisuu~ in which the tickets sold out in just two minutes as well as undergoing a new radio show MALICE MIZER no shisetsu hisho no chojutsu on Chiba's renowned bay-fm radio station. However, things would take a turn when in January Gackt decided to leave the band at the peak of their popularity to form own solo project that he continues to this day, simply called GACKT featuring a backing band appropriately titled GACKTJOB. 
 
As if losing their vocalist wasn't bad enough tragedy struck when in June beloved drummer Kami passed away suddenly from a subarachnoid hemorrhage, more commonly referred to as a brain hemorrhage. With the world crashing down around his shoulders, Mana underwent damage control and returned MALICE MIZER to his own label. Malice Mizer went on to release one song after Gackt left, a piano song called Saikai no Chi to Bara. Little did they know that their fortunes were about to change as their savior was right around the corner.
 
From Rebirth to Climax: The Year of Klaha

 
PRIDE OF MIND former vocalist Klaha joined MALICE MIZER on vocals on August 31st and would be the third and final vocalist for the group. MALICE MIZER proceeded to get back to making music right away with the release of their fourth and final album Bara no Seidou and Klaha had his first live performance one week later with Bara ni irodorareta akui to higeki no makuake - Dai icihiya saikai no bara. Sadly, nothing lasts forever and after several singles, a feature length, albeit silent film Bara no Konrei ~Mayonaka ni Kawashita Yakusoku~ and even a concert DVD in 2001, MALICE MIZER went on an indefinite hiatus at the end of the year. Each member releasing their own respective personal messages regarding the hiatus on the bands official website.
 
Post Mortem: An Uncertain Future

 
After MALICE MIZER went on an indefinite hiatus the respective members were quick to move on to other projects, except for Yu~ki who's only activity since the hiatus was contributing to a song on Közi's solo project. The aforementioned Közi went on to be in a managare of bands, first with HARUHIKO ASH in Eve of Destiny, then started a solo project as well as XA-VAT, ZIZ, VAMQUET and joined Ryo from 9Goats Black Out to form a nu-goth band called DĂLLE. Mana quickly formed his own solo project that is still running strong today called Moi dix Mois and launched his own fashion label Moi-même-Moitie as well as becoming a producer for the band Schwarz Stein and cellist Kanon Wakeshima. Tetsu formed several bands of varying styles of music after leaving MALICE MIZER with the most notable being ZIGZO and Nil. Gackt has been active as a solo artist since leaving MALICE MIZER and subsequently ventured into film and television while Klaha released a solo mini-album and full length album before disappearing from the scene in 2004, not to be heard from again.
 
MALICE MIZER may be no more, but the pieces have come together several times since the hiatus, Közi joining Mana's Moi dix Mois in 2008 at Dis Inferno Vol.VI ~Last Year Party~ and again in 2009 for a two stop tour Deep Sanctuary; Deep Sanctuary becoming a staple event for Moi dix Mois from then on. Moi dix Mois and Közi went on another, longer tour in 2010, six shows aptly named Deep Sanctuary II which featured the return of Yu~ki on bass; the three reuniting on stage for the first time in nine years. The show featured MALICE MIZER classics such as Saikai no Chi to Bara and Beast of Blood as well as a cover of shock rocker Rob Zombie's What Lurks on Channel X. Moi dix Mois then held a tenth anniversary concert Le dixieme anniversaire Live 2011~2012　~Tetsugaku no Hahen Dainana Shou Shinen naru Seiiki Deep Sanctuary III~ which saw Közi performing with his new band ZIZ with Yu~ki returning on bass. Sadly the original drummer Gaz passed away on December 22nd 2017, one year before the bands 25th anniversary and the subsequent reunion show last year Deep Sanctuary Ⅵ MALICE MIZER 25th Anniversary Special which featured the return of the trio as well as former roadies for the band performing their own renditions of classic songs, such as former LAREINE vocalist KAMIJO joining for his own take on the Gackt era songs APRES MIDI and Bel Air ~Kuuhaku no Shunkan no Naka De~, cali≠gari's Shuuji with a riff on the Tetsu era's Kioku to Sora and ILLUMINATI as well as Moran former vocalist Hitomi with Gackt's Madrigal and N.p.s.N.g.s. The show featured ZIZ and Moi dix Mois performing their own songs and MALICE MIZER covers with the show ended with a tribute to the departed Kami and all of the guest vocalists singing together for Ma chérie ~Itoshii Kimi E~.
 
There have been teases for years and the band have come back in several shapes, but whether they will return with the likes of any of their three former vocalists is unlikely or at best up in the air with all of them seemingly content with their careers and lives and consider MALICE MIZER a part of their past. The future of MALICE MIZER is uncertain, but it's safe to say that the Visual Kei scene would be shaken to the core if the stars aligned and the malice and misery rose like a phoenix for a second time.
 
Member History
Current Lineup
Mana - Guitar (ex-Matenrou, Moi dix Mois) 
Közi - Guitar (ex-GIRL, ex-Matenrou, ZIZ, XA-VAT, DĂLLE, Solo, VAMQUET) 
Yu~ki - Bass (ex-ZE:RO)
Former Members
Gaz - Drums (ex-DATURA, deceased  2017)
Tetsu - Vocals (ex-Ner-vous, ZIGZO, Nil, THE JUNEJULYAUGUST) 
Kami - Drums (deceased 1999)
Klaha - Vocals (ex-PRIDE OF MIND, Solo, retired)
Gackt - Vocals (ex-Cains:Feel, Solo, YELLOW FRIED CHICKENz)
Support Members
Shue Sakai - Drums (ex-JACK BLUE, N.S.D.P., Everlasting-K)
Kazune - Keyboard (Brain Hacker, Art Cube)
Staff Members
Hitomi - Roadie (ex-Moran, UMIYURI) 
MAYU - Roadie (ex-LAREINE, ex-NEW SODMY)
MACHI - Roadie (ex-LAREINE, Chanton L'amour) 
Masanori Yabuki - Roadie (Datenshi Tokyo, Ant1nett) 
KAMIJO - Roadie (ex-LAREINE, ex-NEW SODMY, Versailles, Solo)
Shuuji Ishii - Roadie (cali≠gari, goatbed, EX-ANS)
 
Discography
 
Albums
(1994.07.24) memoire
(1996.06.09)Voyage ~Sans Retour~
(1998.03.18) Merveilles
(2000.08.23) Bara no Seidou (薔薇の聖堂)
Mini-albums
(2000.02.01) Shinwa (神話)
Demos
(1992.10.31) Sans Logique
(1993.04.05) Sadness
(1993.10.12) The 1th Anniversary
(1996.00.00) Après Midi
(1999.11.03) Saikai no Chi to Bara" (再会の血と薔薇)
Singles
(1995.12.10) Uruwashiki Kamen no Shoutaijou
(1996.10.10) Ma Chérie ~Itoshii Kimi E~
(1997.08.06) Bel Air ~Kuuhaku no Shunkan no Naka De~
(1997.12.03) Au Revoir
(1998.02.11) Gekka no Yasoukyoku
(1998.05.20) Illuminati
(1998.09.09) Le Ciel ~Kuuhaku no Kanata E~
(1999.11.03)Saikai no Chi to Bara
(2000.05.31) Kyomu no Naka de no Yuugi
(2000.07.26) Shiroi Hada ni Kuruu Ai to Kanashimi no Rondo
(2001.05.30) Gardenia
(2001.06.21) Beast of Blood
(2001.10.30) Mayonaka ni Kawashita Yakusoku
(2001.11.30) Garnet ~Kindan no Sono E~
 
OHP
Moi dix Mois 
Közi
Moi-même-Moitie
 
-A huge thanks to @inartisticand the great team over at vk.gy for a wealth of information that without, this would not have been possible.
 

I dunno if it would be if you're looking specifically for the documentary footage, but the performances per se are absolutely glorious and they contain some of Kyo's best live singing to date (the "Rinkaku" performance is probably his best live performance if you ask me). He was absolutely on fire between late 2012 (after they returned from the little hiatus) and mid to late 2013. It's one of my favorite live releases by them.

Just for those who may not have seen this yet. New single coming soon and 「FROM DEPRESSION TO _______ [mode of 16-17]」collection DVD/Blu-Ray, which could be cool if you haven't had chance to check any of the full show DVD/Blu-Rays out.
 
 

INFINITUM
 
 
 
kek

How fitting, lol.

To a limited extent, it is useful to separate the art from the artist. There are many musicians that make good music but aren't good people, and I honestly don't give a shit about any of that that unless said musician does something extremely awful, like rape or murder. I don't support musicians because I like them as people (although that certainly helps); I support musicians because they make music I like. If you like YOHIO and you like his music, and you can't find anything that would convince you otherwise, then that is all you need to know.

Besides, we are all fans and we are all equally in the dark about any given musician's true nature. Unless you know that person personally, there's no way to tell for sure what kind of person he is. Rumors can start because he is an asshole all the time, or a rumor could have started because he was having a bad day and directed his anger in the wrong direction at the wrong time. You will never know for sure reading comments on the internet. Hell, people are routinely surprised when acquaintances and friends get ousted for crimes or seedy behavior, always quick to drop the line about how they "didn't know" they were capable of such behaviors. The only person that knows how good of a person YOHIO is is YOHIO. 

Trying to quantify how "good" a person is and how much they should be "supported" with little to no supporting evidence is a slippery slope into fascism. 


 

This was spoken about at length in the Dir en grey topic. IIRC, Phenomenon was actually the second or third time they walked off-stage. Kyo was fucking incensed. Who knows what happened backstage.
 
It was really disappointing, of course. We weren't told anything whatsoever and had to wait for probably an hour in total between songs. The venue hardly handed out any water, so at the front, we were all dead from the crush and heat.
 
At the end of it all, it was all worth it. The band were clearly mortified by what happened, and played an improvised set with no backing tracks. Really raw performance, full of energy. None of them were standing around looking bored as usual. It was great. They really put everything into the show.  I'd say it was possibly the most lively I've seen them play in years. It would have been the best show I'd personally attended if it weren't for the technical difficulties.
 
I actually wonder if this will show up on a documentary DVD.

Sound effect.
 
jic your reaction means you don't trust me, from jpwiki:
音響効果（おんきょうこうか）、サウンドエフェクト (sound effect)、略してSEともいう。音楽コンサートにおいては開演前に客席に流す音楽や歌曲もSEと呼ぶ。
 
"Sound effect" is also called "SE" (from English "sound effect"). The music that plays for the audience before a concert starts is also called "SE".

Most people would say that TIW is mastered poorly. It just doesn't sound good, regardless of the quality of the songwriting. This is unbiased objectivity, not influenced by personal feelings. But this is what we got, so we have to deal with it.
 
Objectively, perhaps VINUSHKA, DIABOLOS, and Zetsusentai all have a similar structure, and are therefore increasingly more tedious. It's like DEG have no new ideas anymore when they phone in the obligatory 'epic' on the album.
 
Subjectivity is an individual's opinion. I personally think that the long version of DIABOLOS is far better. The demo feels like a bog-standard song. The album version is like a journey.
 
Zetsusentai is maybe a bit too close to VINUSHKA, structurally. Although, it does have plenty to enjoy aside from that minor niggle. In the same way, Sustain the untruth is a rip-off of FILTH. Which it kinda is, but it's its own thing, too, and they both have their own merits that distinguish themselves from each other.
It might be intentional. For example, the main riff from DIABOLOS is recycled throughout Kaishun, and a chorus motif from Kasumi is recycled in HIGEKI HA MABUTA WO OROSHITA YASASHIKI UTSU.
 
The band is over 20 years old. One has to expect a few songs to feel or sound similar. At this point, I'm just glad we're still getting new material.

Yeah, only the Japanese Limited Editions of both had the extra discs. The 'deluxe' version of DSS released overseas was a bit sparse in comparison.
 
The official site has all the info:
DUM SPIRO SPERO
DUM SPIRO SPERO AT NIPPON BUDOKAN

That's sort of the point, isn't it? It's DEG taking the piss out of themselves musically as well as calling out those fans who turned away when they started going metal. It's a sardonic "fuck you, I can do what I want" tone that I always found to be almost triumphant.

Wat.
Also Taiyou no Ao is fantastic.
 
For me, there are a few songs I often skip. MASK and audrey come to mind immediately. Jesus Christ RnR is kinda fun but pretty stupid, too.
 
Some of the newer singles I just roll my eyes at when they start playing them live. Hageshisa to... was horrendously overplayed for a long time. LOTUS feels boring now. Sustain the Untruth is the same.
 
Tbh, I'd take any bad Dir en grey song over the crap they play on the radio these days.

Did they ever claim to be an experimental band? They've experimentED with a ton of different modes of writing and producing music, sure. But their music has always been at least relatively digestible structurally since pre-GAUZE. They went a bit experimental with DSS, but even there, songs like DECAYED CROW still have clearly defined verses and choruses.
 
Since ARCHE they've been quite vocal about simplifying the music, presumably because it's tough for them to rehearse and pull off live.

I love how much the design on that bag reminds me of this:
 

Kisou was ahead of its time. Haters back off!