Kelrya

I don’t think it’s referring to that at all here. He just happens to be using the word “oni” which is a type of demon from Japanese mythology. I don’t see how it’s related.

He says 鬼 (oni) in that song but not the rest of the saying.

Interesting. I found this article http://www.worldfolksong.com/sp/songbook/japan/warabeuta/onisan-kochira.html Apparently it comes from a game where one kid is blindfolded and tries to tag the rest of the kids, and they call the blindfolded kid “oni” and use this phrase/song. Also according to this article this phrase or a variation of it is used in movies/TV/etc. by thieves taunting the cops who are chasing them.

Kind of a random observation but I just realized that Kyo reuses the 鬼さんこちら手の鳴る方へ line from [KR] cube in Rinkaku.

I really prefer the old Fukai chorus though. The new one is okay though.

Lmao I forgot we still haven’t gotten that one yet.

When does the video come out? I don’t understand why the Japanese music industry is so weird about this kind of stuff, just put it on YouTube when the song releases.

Imo DEG was at their peak in terms of creativity, atmosphere, technicality and musicianship from about 2009-2013. Songs like Different Sense, Diabolos and Rinkaku are just on another level even compared to their own discography. I also loved a lot of their “br00tal” remakes even though they sometimes forgot what was special about the original, for example with Obscure. But they made a lot of gems like Kiri to Mayu and Zan as well, and it allowed them to expirement in a way that I don’t think they would anymore, like with Tsumi to Batsu/Kisei. For me Sustain the Untruth was really bad in comparison and while most of Arche was much better than that single thankfully, and it was a great album overall, it also sometimes felt a little to clean and conventional. TIW was great too, I loved the aggression and emotion so much, but the songwriting and riffs sometimes felt too simple compared to their best work. But I think overall, while they may not be at their absolute creative peak, this band is still great and I’ve never been truly disappointed by any of their albums. This single feels like a cool mix of TIW and Uroboros (maybe even some Unraveling) and I can’t wait to hear the new album in 5 years.

I do think Ochita could have been a little longer, it felt like they were trying to cram a lot of ideas into a song length that’s appropriate for a single, but I also think that TWoM could have been like 1-2 minutes shorter. That song just meanders so much, especially during the first half when it’s just some really simple electronic stuff and occasional guitar. I love the chorus, the fast heavy section and the climax/outro of that song but the build up in places felt kind of aimless and artificially drawn out rather than feeling like it built up more organically like some of their other long songs like Zetsuentai, Vinshuka, or Diabolos. I like the production on Ochita for the most part. It’s cleaner than TIW but it doesn’t have the kind of “cheap” sounding production (at least that’s how it sounded to me) that TWoM had.

Where are you guys finding the songs? Edit: Nvm I found them. I really like all three this time. The single is great, the breakdown at the end really ties the whole song together, the promo edit felt weird because it had a heavy intro but the rest of the song was much more melodic and the ending was very anticlimactic. The full song works much better. It kind of feels like a mix between their Uroboros and TIW eras. The major key interlude for whatever reason reminds me a bit of that weird interlude in Taiyou no Ao, but this time it’s good and not bad. The Clever Sleazoid remake is awesome, I still love the original version(s) for their rawness and I miss the original intro, and the Engrish lyrics while kind of cringey had a certain charm to them, but I’m loving how heavy this version is and some of the added guitar harmonies and more technically impressive vocal shenanigans. I haven’t paid much attention to the new lyrics yet (I speak Japanese decently but it’s hard to understand singing and pretty much impossible to understand screaming lol) but Kyo’s English was always pretty astoundingly awful even for a Japanese vocalist, so this sounds more natural. I like that they kept a few lines in English, I think that works better for them than trying to do full songs in English. I do think it’s strange that out of all the original lyrics, they decided to keep “one day I will fuck your parents!” which is quite possibly the dumbest lyric in their entire discography, but it is what it is. Lol. The live tracks are generally kind of throwaway and vary pretty wildly in quality (the live version of Utafumi from Ningen wo Kaburu was awful) but this time it was good. Just a nice live version of the song.

They’ve already made songs in the key of C# in ADADGBE tuning, like Downfall for example. They just use the 4th fret of the low A string (C#) as the root note that they chug on. Utafumi and Ningen wo Kaburu were also like this but they used the 5th fret as the root note so the key was in D. In Different Sense they used the second fret so the key was B. They do this a lot.

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

They seem to be taking the promotion edit thing pretty far this time. This can’t be more than half the song. It just feels like so much is missing and it ends so abruptly.

Why is the new song like one minute long lol

Livestream link: https://youtu.be/-IG-e4C2QR0