Pretsy

Thankies, deadgrandma @EM for informing: Source mentioned above :V

I don't know if you were aware of this but N.E.R.D. are (at least according to Pharrell) intending to churn out a new album sooner or later

DEG needs to troll their fans again someday BAKA!!

Depends on how you look at it: do you want basic metal music that utilizes brass instruments/accordions or do you want metal-oriented-ish stuff that revolves around these instruments? In case it's the former, go with what Bear suggested - but in terms of something more brass-oriented, I suggest looking into acts that are not necessarily "metal" but known for incorporating metal influences with their brass-based arrangements: Anyways, since we are at it - what do you guys think of current, cherished metal-based acts of this year - take say, Ad Nauseam or latest Deafheaven as cases in point? ps. I am not really metal-based listener to begin with, so that might explain picks which might lead traditionalists to rule me out as another /mu/-truder...

Not that anyone might care but since everyone knows what kind of stuff do say - Kaoru, Die or Shinya listen to, but I thought I could throw in my inspections of Kyo's own favs aside from his earlier biases (that aren't influencing him that much anymore): - He's a huge Bauhaus fan (would love to share the stage with Peter Murphy someday - http://www.douban.com/group/topic/18668790/) - When he was asked about "defunct" artists he admires and with whom he'd have liked to collab if they weren't...well, "defunct", he mentioned GG Allin too (obvious inspiration for his current stage persona, lol) -> same source as above - Other favs I have found so far : ZOA, VIRUS (JP hc/thrash metal band), David Sylvian (mainly his darker post-Japan albums), Akina Nakamori (early DEG songs even have a couple of lyrical references to her songs) Also: band's "deserted island" choices http://www.hmv.co.jp/news/article/1107290061/ Either way, I still cannot find any connections to his actual interests behind his possible, latest contributions (hint: Kyo created the basis for "DREAMBOX" according to Haiiro no Ginka interviews at that time) - guess Kaoru being the main architect of Dir's sound kinda overshadows other members' contributions? Like the hell, I'd never think "Midwife" was Toshiya's song ("Cause of Fickleness" is a legit Shinya song though, the most obvious one-time comeback to his favorite eras)...

@WhirlingBlack: I think they've rerecorded "Garden" too (notice tempo differences between PV version and Missa version). You forgot Ryojoku No Ame's both versions too (the most obvious difference is Kyo's random falsetto climax in the single version) but Agreeing with these ! PS. I really hope I could get my hands on THE FATAL BELIEVER's 2006 demo version again (from FVT btw)...just to hear how different it was from the album version :V

I am still on the fence about my favs but either way, since folks like emmny are more into um, live/look/member-specific details: TFW no one ever said about Kyo randomly slobbering/sucking random fan's hand during one of sukekiyo's lives (people at first even thought he was going to give a BJ a la GG Allin style, kek)

I wonder what they have thought when they've decided to bury everything and let Shinya take over with his TACKTACKTACKTACKTACKTACKTACK... Totally seconding Furik too - I still don't get the hate surrounding THE DEEPER VILENESS either (okay, lyrics are a bit of here and there but we have seen worse, right?). One of the most prominent and memorable drumlines by courtesy of Shinya in some parts (especially chorus + outro). 'The Inferno' is definitely their worst song right there - sure, less is more but in this case it doesn't compute: they have far better "hell-bent" songs with bouncy riffage. This, on the other hand, literally has nothing you could memorize or pinpoint - instant throwaway. Judging @Stallion really hard right now Decayed Crow is muuuch better live (especially when you've experienced it personally), Jesus Christ R'n'R is one of their most fun songs along with Machiavellism (you guys ain't fun, huh), Beautiful Dirt was "funny" (positively or negatively? Be the judge) and S is still one of their most annoying songs (Tonberry-era elitist like me won't give up ). Let's make this harder: what are Dir's best songs in your opinion? Enough with silly Batsu-ian "this song baaad you sucker" debates P.S.S: how do you guys feel about Arche being stuck up with "nu metal"-tag almost everywhere? (incl. certain semi-prominent Japanese web meccas of metal) (is anti-nu metal bias still alive?)

^ real deal! (except that Heracross is too much of a glass cannon for my tastes) In my case: Feraligatr (one brute water-blasting mofo), Gengar (able to cap both psychic and ghost types and many others easily if you are talented enough), Charizard (in case I want to decimate someone mediocre), Raikou (*ZAP*), Nidoking (another brute, multitalented pokemon), Snorlax (if you are patient and talented enough, this will become your ultimate "surprise monster") Idk and Idc about post-generation III pokemans, sorry! ^^;

Hiiii mr. simpleton right here~ (the last time I will avatarize myself ever lmao) ps. ignore dat moonspeak (yup, localization mishaps)

AFAIK only some fans agreed on DSS' basswork being the best part of the album...but whatevs bruh (I never mentioned Cage or anything on that matter, wut?)

^None shall mention Wooten and AMON in the same sentence or even in the same goddamn comment, L M A O how dare you Then again, it depends on how you personally perceive DEG in terms of genres: for me they are a rock band, no matter what kind of metal direction is in question - I will always take their musicianship in the same level as with any other rock act, and I feel like they were tailored for that approach in the first place too. Guess this is why I actually take their alternative/nu metallier bangers (SUSTAIN or well, Kaishun (again)) much more seriously than say, Juuyoku, InferNAWW or any other deathcore-ish track they've had since moving further away from Uroboros (I have my own sources for "metal" (i.e. textbook definition of metal, NOT some alternative-based amalgamation) in case I need it). Since we are at speculating/theorizing what kind of musicians we would like our fav bandmates to emulate: I'd love to see Shinya attempting to emulate David Silveria again (STUCK MAN was so close to his usual sets...but not enough) and Toshiya being less of a Fieldy-deathcore crossover (note: check him out and you'll see where Toshers got his awkward playing pose from), but more of...Justin Chancellor*-meets-Chi Cheng's dynamics-kind of person (note: see my reasoning above for these artists mentioned) *off-topic but let's get this straight for the sake of anti-Tool bias: Chancellor is one of the best, most varied drop tuning bass players to me (Chancellor is a great example of a bassist that explores good melodic lines without losing sense of rhythm.) , albeit the fact that metal elitists tend to downgrade his/everyone's drop playing in general.

Talk about tacky titling. #HydejustreleaseanotherLarcAlbum2016pls

Sketched addition to WT's kyota post: Kyo's new look (kind of) ps. THE FATAL BELIEVER is awesome, what the fuck mate ;O;

I think people who have hung around DEG muzak for almost a decade should sorta know already what exactly is "slapping 'n' popping" - and how one can make it sound "funky cool": or just pure mess, as Saishu already showcased it by citing "AMON" (don't get me wrong, there are parts where I find Toshers' new bass tone to be quite pleasing, e.g. BLOSSOMING or Shitataru - but that's just less than a handful). When it comes to "playing random notes", have you ever inspected what kind of basswork Toshers had throughout his career? In earlier albums you had his capability of contributing counter-melodies to Die/Kaoru riffage (not to mention having great bass technicians/mixers to refine that magic tone) while albums from Vulgar up until Uroboros he was basically the main contributor of "groove" behind most DEG songs you could only name - let's not forget various oddities he's known for as well (e.g. overdriven bass on "Domestic Fucker Family" or funnily early prog-worshiping bass glory a la original "MACABRE"). Implying that I'd be a full-on "hater" would be too much if I just threw my dislike towards his later, much more subdued style out of my chest. I am not the professional bassist to begin with (moderate one though), but I can tell you that he has his moments here and there (e.g. Tousei and Kaishun on ARCHE), but for the most part dull basslines ("Phenomenon") take the lead. How unfortunate imho, but what can I do? Only if I could, I would have asked him to utilize all the potential his 5-stringer bears, as Saishu already pointed it out. Also, allow me to express my cringe towards odd choice in their current metal sound: just why would you SLAP DAT BASS if you were about to pull off "deathcoreistic carnage" for the most part (e.g. new Zan - don't death metal/deathcore-based bands normally utilize treble-heavy finger bassplay?)? I'd like to hear proper musician views on this subject

^ I suppose by "staple song" you meant Hageshisa and not DS as well? Since they have stopped playing DS lately (or for a while, if you will) - and yeah, if he really dislikes it, he cannot do much seeing as it's the main favorite amongst fans when staple songs are in question ("boo, bah...OOOOOH NOT THE FINAL AGAIN!!"). Is it me or are Toshiya's basslines sorta subdued too lately? I really miss his earlier playing (MOAB or even Uroboros) in which he had this groove thing going in the background (while supporting the rhythm section, e.g. Ryojoku no Ame) - and not this distorted two-string minimalism or TWANG-TWANG-TWANG-KLANG-KLANG hi-jinks (guess which DSS song I am referring to, lol).

Anyways, Kyotakumrau has some fresh stuff up (live report sketches): Kinda interesting that Kyo even got his piercings back (???) Also, since there's no Sukekiyo thread - I thought it wouldn't be out of place to post some news from them too: http://azabu-festival.sakura.ne.jp/artist.html Kyo and his co. will have a free gig @some university festival next month - and it will be their very first "free gig" btw, I am jealous!

You've gotta give kudos to Kaoru for actually attempting to motivate everyone lately - including less enthusiastic Shinya to put stuff together in terms of songwriting (guess he is the "main pillar" of the band?). Earlier a.k.a after MOAB it was mainly Die and Kaoru contributing ideas with very minimal contributions from others (minus Toshiya who had his moments once in a while). "Main pillar of the band", I suppose? (Ps. this could be noted on how majority of ARCHE tracks minus Rinkaku feel more straightforward and less random structurally speaking ). Also - when I discussed this "less chemistry"-characteristic in Dir en grey's songwriting, I meant 2010-2013: as far as I remember, even certain interviews implied they had no proper social contact between each other e.g. while recording THE UNRAVELING - Kyo being mostly absent, members mainly stuck in doing their shit on macs in the same room without talks etc (I think even Kaoru noted that too). Consequently, I still hold my theories in high regard and see them as rather plausible reasons for their mishmash at that time. Lastly, I believe Kyo is becoming less interested in DEG too - you could also note that by noticing how much he does have to say about songwriting processes with his DEG mates nowadays (read: almost none, mostly just indifference). Sources: take your time and dig up in Haiiro no Ginka interviews circa DSS promo - Unraveling promo, especially those with Kaoru, Kyo and Shinya (less likely to "lie" about behind-the-scenes stuff)

Actually bothering to read behind-the-scenes stuff, sales figures (i.e. being curious about where they'd go now) etc. equals obtuseness now - okay then Saishu My BAN reference is mainly based on the fact that DEG fandom has a huge lack of casual fans who won't try to push their proggy elements forth and decry those who are at least somewhat vocal about the past being more "up their alley" (since 'kool kids don't do trannydom anymore', right?) - hence me throwing at least one known name that would satisfy folks circa post-Uroboros. Oh, I never mentioned that MH would be the place for anything BAN-related - feel free to enlighten which part you interpreted as such Anyways, let's derail this drama for a while: I spotted a few fun details while keeping a skeptic, yet fanatic eye on these guys:

TBS is the textbook example of how neo-vk has evolved into the "wonderland" of awful shaky vibratos, nasal nightmares, poor clusterfucks and magical studio cover-ups (which you eventually spot while taking a glance at their lives, "THANK GOD" for triple-track vibratos and odd guitar compressions...and triggering!). So, kamomekamome of course.

Jesus, I think I spilled too much incomprehensible garbage on this one: Now that I've returned back to Gazerepertoire with much more "critic" / "expecting" views, I would consider this record to be the most cohesive record (while still sporting that "back and forth" thing Reita talked about in terms of their pre-DOGMA releases) - each song doesn't sound too off in the context, not to mention the fact that they've managed to condense specific songwriter elements in this release ("Beautiful Deformity" fits in that sense as a title) , without making it too bloated (DIM) or totally directionless (NIL). Call me a propagandist of music listening habits if you wish - but I still think people should judge the album by its entirety rather than separate songs (DIM or SR might totes win in the "standalone tune" department but fail badly as proper albums). I refrain from ratings in favor of much better, briefer summary: I can see myself coming back to this release every now and then. Furthermore, I don't have to keep my skip button ready in case I face sudden incohesive abnormalities or such along the way*. For once, Gazette finally did something that feels like an "album" from western POV too. (note: @Jigsaw9 and @CAT5 sharing their pro-BD views might have influenced me to delve deeper into what Gazeboys have cooked here, oops) *cases in point: a ) DIM, while having a good share of strong standalone tunes, suffered from its overall bloatness, questionable ordering (Headache Man -> Guren, really?) and interludes that didn't do much for some songs ("Mousou" as a case in point). b ) SR, while being the best introduction to post-Gazetto era "more alternative" direction, had shadows of NIL-ian inconsistency haunting all over the place - you've gotta wonder why they put "Ganges" or "People Error" (examples) there in the first place

Tell the band members themselves to quit on their ridiculous revelations through Haiiro no Ginka-mags then, rofl. Jesus motherfucking christ for the fact that you missed the context though, #bye.

Did DEG ever receive any "Parental Advisory" stickers or any kind of censor warning while they were full-on vk? I think Kisou should have had one seeing as there were many songs which expressed quite taboo-y subjects in very straightforward way (Embryo's album version, anyone?) - kinda funny that their "Parental advised" status was emphasized when they became quite known internationally (if we assumed that 2005 was the year of their stardom, *cough* Average Psycho). Ps. to compare, Gazette got their Parental-stickers quite early in their career (2003-ish), lol. Speaking of Mazohyst, I don't get that much hate either - I am quite indifferent about it nowadays, but it was certainly one of the most memorable, coherent over-7miners in their repertoire (my biggest problem with Mazohyst is that how depressing it is in album's context). To Dogman: I didn't get the reference nor its relation to the context of our convo? Is it really hard to understand the fact that DEG fans who enjoy their earlier execution and preference (albeit still holding their era of cohesive sounds, aka MOAB-Uroboros in high regard) are still able to voice their own concerns involving lack of audible chemistry in their "epics"? For some DEG is the band who "should just pull off Blut Aus Nord and have balladless DSS-y set of 10-min mammoths" (hint: le French guy said this), for some DEG is the quintet who shines in their catchier, much more compact numbers (incl. me)...

I don't want to sound offensive or whatnot (hopefully anyone around here is not as insensitive as Kareki is...was in terms of "slagging off"), but why is Kyo shaving his hair off every time when he's got the chance (every 2-4 months?). Sure, it might be his personal taste but as a person who likes to suspect everything, I am calling balding issues on this one (because people would normally stick to short/bald cuts at that point). Seconding @rekzer but I could say the same about overall order of these setlists - "And Zero" a bit before the 1st encore as another case in point (no, I won't stop). Ps. since they went with "new intro" now, should we start speculating about 2016 being the year of another DEG album? I bet they won't go with another long pause...

I will take this one step further Shakuhachi jazz and straight out of the 70s!! (everyone here should try out) /I am done, sry Cat/ ps. even if J-Jazz should be inspected by looking at its "roots", I find its fusion genre and acts to be the best choice in terms of introduction - e.g. I've got into this scene just after side-eyeing Ringo Shiina's musical partners, heh.