Ozileras10

The song is awesome and Hyde looks like Kyo

The song is awesome and Hyde looks like Kyo

It's below avantgarde and dark but not as much as I thought, the weakest point of this album are the heaviest tracks, uninspired stuff just like those from sinners ep, on the other hand the mid-tempos are fantastic: exist, renatus, amble, sense of emptiness and a fool makes this release well worth listening.
 
out of 11 tracks those 5 are REALLY good, not so bad 13 and faith, the rest is meh
 
I give it a 7/10

I love all the songs on this (really solid, melodically)...Shittt I need to listen to them more often.

Repetition is the best way to make people tired of listening to your music. 

Everything sounds boring after hearing the most recent Dimlim songs. 

My review of Ninth:
 
So after listening to Ninth for more than 30 times, and listening to some of my favorite songs from Ninth on repeat since the release date. I can say that Ninth is a really great album. At first I found the production kinda muddy(maybe because I've listened to Dogma so much and was kinda used to that type of production), now I don't find it muddy but I would have loved If Josh Wilbur would have mixed the entire album not just the MV version of Falling coz I loved the hell out of that mix. Anyways here's a short review for every song:
 
1. 99.999
A really nostalgic intro, I like how it mixes all intros of their albums. 
 
2. Falling
Loved the song since I first heard it in their official website. I love every bit of it, The riffs, Ruki's voice, the guitar solo, the rythm of the song and the synth is really fitting. Definitely the best song on the album. Although I prefer the MV mix over the Album mix, I'm starting to enjoy the latter as well.
 
3. Ninth Odd Smells
Another favorite on the album. This song is meant to be played live. I listen to it when I wanna get pumped up before studying. I feel like every member shines on this one. Love the heavy parts and the big choruses.
 
4. Gush 
This one is such a headbanger. It's a fun track and I find it really enjoyable.
 
5. The Mortal
This one is more experimental compared to the rest of the album and I think its a lot of people's favorite on the album. It's got a really dark atmosphere surrounding it . I love the basswork, drumming, the riffs, and the electronic elements. But the highlight for me on this song is that big chorus, Ruki does an amazing job in this one
 
6. Utsusemi (虚蜩)
One of the more emotional tracks in the album. You could tell it was composed by Aoi. It's another  standout on the album and I feel like it's a song that deserves a music video. Nothing much to say I just love it from start to finish.
 
7. Sono koe wa moroku (その声は脆く)
Although I didn't enjoy it as much when I heard the Radio uploads on YouTube, it's grown on me a lot. The highlight of the song is the guitar solo.
 
8. Babylon's Taboo
An epic song. Love the industrial elements and It immediately reminded me of Devouring one another. One of my favorite songs on the Album.
 
9. Uragiru bero (裏切る舌 )
It sounds like a better version of Vermin. It's got amazing groovy riffs and Kai is a monster in this one. Such an amazing track.
 
10. Two of a Kind
This track sounds like Depravity and it kinda feels like a lynch. song in some parts. Love the changes between heavy and clean sections. The highlight of this song is the ending part, It's so incredible.
 
11. Abhor god
My least favorite song on the album. I was hoping for a fully metalcore song coz It begins with an awesome metalcore riff but unfortunately it develops into something else. I think this song has the weakest chorus on the whole album. 
 
12. Unfinished
An awesome way to end the album. This song reminded me of Toxic mixed with a little bit of Nil and Stacked Rubbish. It's got an awesome melody and Uruha's guitar solo is so beautiful. Love how it just fades away at the end.
 
 
Ninth  is definitely one of their most consistent album from their whole discography as there's no fillers on the album. However it lacks standout tracks like Deux, Dogma and Ominous. In the end, I think I still prefer Dogma a bit more, but Ninth has definitely become one of my favorite albums from them.
 
 

One of the songs from the album has leaked.
 
 

I don’t know if I should be worried or excited that the limited edition has more shit than the limited edition of Ninth, but costs less. 

Well The Gazette had their best live in ages on that limited edition, while deg is more likely to have more live renditions of sustain the untruth and utafumi if anything

Hey does anyone remember when Koichi and Tsuzuku were cool? They're making it oh so easy to forget 

which means, next album will be WAY better than everything they released in the past years cause they'll be free to do whatever they want ?

The GazettE announced on june 29th that they’re leaving PS Company and opening their new company “Heresy”

Even if i know a few people are interested i like doing it and must finish the tracklist ! 😛
Here we go (i did my best, sorry for errors or bad english) :
 
EXIST :
 
RENATUS :
 
AMBLE :
 
SENSE OF EMPTINESS :
 
FIVE :
 
INTERLUDE :
 
FAITH :
 

The album will be released digitaly and physicaly in Europe, thanks to Okami Records! (GANSHIN sub-label)
 
 
 

I agree completely with your take on the sound production, and the efforts to use better sound equipment must have made that much more of a difference.
I had a similar experience, as that itch for experimentation got the best of me, and I decided to listen to NINTH again and again, using 3 different types of headphones (open-back, closed-back, and noise-cancelling) with and without a DAC/Amplifier, as well as listening to it in the car (windows up and down), and even on the plane during my vacation trip haha.
 
Ruki's recommendation to obtain better audio equipment in order to listen to their albums at their best is solid advice for sure.
Guess it would be no surprise then to anyone that listened to NINTH through something similar to Apple earpods and complained about the sound, simply because of the frequencies that overlap entirely from it's production (could be that muddiness everyone is referring to). Even in my own search to find the right balance of equalization and driver amplification to make this album sound amazing, I could feel that GazettE standard being set higher and higher. Perhaps we have become a bit too jaded with past expectations from the GazettE to present new ideas, that now we even criticize the sound when it differs from what we are used to. Perhaps this issue with the sound production is the first of many complaints to come until fans actually take Ruki's advice. Just gotta wait and see.
 
Here's my review on NINTH.
 
 
With that said,
 
| An album that GazettE fans have been waiting years for.
 
What I felt I listened to in NINTH was what a lot of us were truly waiting for. Something that kind of stopped with TOXIC, and DOGMA was the complete opposite of. It’s weird, but this feels like a GazettE album. There exist tracks that can be rightfully placed into the hall of Gaze-favorites. The sound is reminiscent to their days of spontaneity, where they just went at it with a collection of ideas, and in this case those ideas became NINTH. Is this is rival to DIM? I’d say no, and that’s because it is too sporadic in sound and execution to be heralded as one (too mashup-y in simple words). I can comfortably say that NINTH is a rightful successor, as it checks all the boxes that I feel made me a fan all those years ago, and even has the potential to be an album in 2018 that you can easily recommend to new fans of the scene. I think most would agree that if the album still holds its appeal even after as many listens as I have gone through, then it will most likely stay that way.
 

This album is really good and fun to listen to. I've been 'spinning' it for two weeks and keep coming back, finding new things to appreciate with each new listen. I feel like this one's less about the atmosphere that was DOGMA, focusing instead on some really fun music. Hands down the best GazettE album since DIM for me (Haven't really enjoyed this much since that era, though I like some of what they've done in the time in between)
 
Favorite tracks: The Mortal (Love the chorus/synth), その声は脆く(A sleeper hit with a powerful melody), Babylon's Taboo (Pretty original for them; heavy, 'groovy' and interesting, without much screaming which is a nice touch) and Unfinished (Super fun; I don't recall a GazettE album ending on an upbeat track like this)

Nice review. While it would be accurate to say that this album reminds me of many past albums at once, I think it would be doing an injustice to NINTH not to credit it as its own 'era' of Gazerock. The band hasn't just thrown in callbacks to their lengthy discography, they've evolved and grown in a way I didn't think was possible this late in their musical career. With Reita himself admitting in an interview that it was hard to get out of the 'dark' phase they found with DOGMA, and some interesting comments in the interviews and liner notes of the album (these can be found in the 'Reference Book' for those who can read 日本語 until someone other than me can be bothered to make a translation), I think the band surprised even themselves with some of the compositions on this album.
 
Falling was always an excellent track and remains possibly the only real stand-out, but that by no means discredits the rest - in fact, this is one of the most consistently pleasing albums we've had from the GazettE in a long time. NINTH ODD SMELL was made to be headbanged to live; THE MORTAL has a gorgeous juxtaposition of an oppressive instrumental atmosphere and Ruki's soaring vocals; BABYLON'S TABOO, while not my personal favourite, is one of the most alternative, industrial-sounding experiments we've heard from the band; and the old-school vibes of 裏切る舌, which the members wondered if newer fans would catch on to or applaud as something new and original, were a fun shake-up towards the back end of the album. TWO OF A KIND is possibly my second top track, it hits hard and the ending is to die for, and UNFINISHED brings things to a close in a nostalgic way very reminiscent of truly old-school GazettE 春雪の頃 (shunsetsu no koro).
 
The fact that I have something to say about pretty much every song should speak volumes about the album as a whole. It's varied but consistent, a quality somewhat lacking in recent efforts, and one of my easiest recommendations for getting into this now almost legendary band.

| One of the best GazettE albums in recent memory.

I can't believe it's been three years since DOGMA. It feels like I just finished roasting it for being the "most underwhelming album of the year" and "ARCHE, Iowa-era Slipknot, and a quarter of DIM shoved in a blender and served cold". To be fair, most of my criticisms came from how stale and similar all the songs felt; the result of going a bit too far in the metalcore direction. Ever the perfectionists, it seems that the band actually addressed all of my complaints with NINTH. By combining the dark and heavy nature of DOGMA with the electronic rock explored with TOXIC and DIVISION and the retro "Gaze-rock" style of BEAUTIFUL DEFORMITY, The GazettE have succeeded in delivering an experience that mixes old and new sounds. NINTH won't win you over if you don't like the direction of the last four albums. If you took more of an issue with the execution of those concepts, than this is what you've been waiting for since DIM.
 
It's been a while since I feel comfortable recommending an album of theirs. NINTH is an easier and more engaging listening experience than DOGMA, with smooth, slick, and balanced production. I don't understand the criticisms of "muddy production" because I don't hear it. I even pulled out my good headphones - the Sennheiser HD600s - and plugged them straight into my Logitech speakers to pluck out minor grievances with the mix and it sounded better that way. This reaches a level that visual kei music can rarely afford to reach. Ruki has advised fans to get great audio equipment to experience each album to the fullest, but I think it's more true now than before. The songs are also arranged very well and flow into each other, and I can't recall a single jarring stylistic transition. All of these elements together makes every song an attractive listening experience. There's also the absence of several elements which used to drag down prior releases: the lack of standout tracks, filler, and clumsy Green Day-ish all English punk songs that stick out. The GazettE cut the fat out of this album in a way I wish Dir en grey could.
 
An album can still have highlights even when it's consistently good. I can't end this review without naming my favorite tracks. The first would be "その声は脆く", a rock ballad which starts on an unassuming note before effortlessly sliding into a thick, melancholic atmosphere. It even has a (short) twin guitar solo, a staple of rock songs I've been missing from their music lately. The follow-up track, "Babylon's Taboo", creates the best one-two punch on NINTH. I could be convinced that this is a heavier take on an unreleased 9GOATS BLACK OUT song. "Falling" is the de facto single of the album, receiving the first music video to push the album, and there's a damn good reason why. "The Mortal" is another track that deserves a shout out for mixing some of NIL-era flavor in the chorus with DOGMA-style riffs in the breakdown, and serves as a great summary for the journey the album takes us on. If The GazettE were still releasing singles, this would have been the second one.
 
NINTH makes a strong argument for keeping a low profile until an album is complete. Visual kei bands can capture my attention with rapid fire single releases, but that makes it harder to impress me with an album of familiar content. NINTH wouldn't be as impressive if they gave us previews and teasers months or years before it was done. I hope other bands are taking notes. If you haven't already, put some cash towards this worthy album. It will be favorably remembered for years to come.
 

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