Pretsy

Knowing that it's Mucc (post-Karma = not really eager to go for sudden genre-twisting clusterfucks a la some numbers in Shion) and not some Bungletastic act, it's pretty easy to draw pretty precise assumptions on how those songs would sound in full, lol

Do DEG stans remember when Kareki threw a huge fit (@tumblr) about DEG fanbase "killing" band's revenue with massive DSS leak downloads? (That too came after some petty tweet by courtesy of Kyo on being a bit disgruntled about the said leak)). I think it's delusive fans who drive this useless VK piracy discussion into new, hellish dimensions - NOT hasbeen bandomen with obvious mental issues/attention whoring symptoms (Akane) or total denial in terms of failed business plan/move (Hiro/Nokubura in general - was the move to VK a good decision to begin with? Let that sink in for a moment). Sobersided stans should just calm their tits and let it all pass by (they will eventually figure that out for themselves, and who knows - perhaps the band/person comes up with better ways on attracting more fans to buy their stuff, e.g. bandcamp)) - as it was said above, we don't owe anything to their business fiascos.

They eventually decided on sticking to -coreisms? Good for them, bad for mid-era stans like me, I guess. Post-Shion development showcased that "lighter" genres (half-ballads in Kyuutai, groovier/dancier tracks in Shion, Karma etc.) were certainly their forte, while their coreistic ambitions (Mr. Liar, Ms. Fear (?) - they didn't even try NOT to rehash their repertoire right there, smh) left, AND still leave a lot to be desired (just how generic can those riffages get in those samples?). Just FYI: I have nothing against metalcore in this case - it's just not something Mucc should do on a regular basis. Each attempt, each frill just oozes little to no fresh ideas - there is always that same pattern, "accidental" rehash... They should also learn NOT to steal ditched songs from Giru either (Suiren and Rendez-vous), and prolly make more fun tracks in the vein of "TONIGHT" (I really hope it will be one of their first "cheesy Steel Panther-y" numbers in all honesty, lmao) PS. I bet that there won't be any signs of clear progression/evolution (especially the latter, since it's Miya who banters about "MUCC being a synonym to "evolution"" and so on, right?)

Needs more OH WAH WAH AH AH Also, not exactly the right place to chat about this issue but that latest Lindemann album makes me sink even further into the earth with shame...after being aware of being a Rammstein aficionado myself like ages ago (UGH, UGH, UUUUUUGHHHHH!!!!) - it's like they made a full-length out of that "Pussy"-song or whatever it was. So cheesy, so greasy :/

New Suiyoubi sounds neat!

Let's see if I manage to ignite some buzz in the section that I rarely visit (not that I expect any responses) Here's something that I'd love to muster with my guitar/bass aficionado colleagues out there: can you guys think of a few instances in VK and/or non-VK stuff (J-music) where odd/unusual tunings were utilized in guitars/bass (seeing as I am getting rather intrigued about freaky tunings lately)? My examples (my sources are from their official song/tab books btw): Dir en grey - DOZING GREEN (Die's part - guitar) Tuning: DADADD + half step down (C#G#C#G#C#C#) (a variation of Open C# tuning) Most musicians cringe upon this due to stigmas laid down by Creed/Alter Bridge and their unfortunate alt. fame. In this case Die managed to express its folkier side (what you'd normally expect from DADGAD) without eventually resorting to stigmatic Christian rockage, heh the GazettE - songs with dropped tunings (Reita - bass) Tuning: various variations of BDGC (low B from standard 5-string tuning + DGC strings from one step down tuning) I find composing on such tuning a bit freaky to begin with (at least from theoretical perspective, like adapting to certain scales for instance and so on), so kudos to Reita for being somewhat innovative on that matter, I guess? I have heard that its frequent use would kill strings pretty quickly though :/ Feel free to come up with stuff you have

To be honest, when I eventually decided on giving them a try after a while (seeing as anything after that album with Starlight and Supermassive something comes out as pseudo-intellectual teen rock mess to me). Definitely sympathizing for their nods to favorite acts with several homages and whatnot ("Reaper" as a case in point), but in the original department it still feels like one hell of a lackluster package. Just what happened to the OoS era of pure pop creativity, "punch" in rockier arrangements and intriguing influence adoptions ("The Globalist" is fine but defo far away from their earlier, superior opuses)? Lyrical department is cringeworthy as well, tsk tsk tsk Bellamy :/

So is "LUCY" related to their Lucy/Abyss tours from TOXIC era? I like how they ditched that whole engrish hassle and went with simple titles instead Their new look's a real mess btw.

I really don't get the buzz behind FF7 remake, and this comes from a person who still adores the said ORIGINAL game to this day...like, why do you favor such an easy kill of nostalgic PS1 intrigue? Do you really need some uber HD-fied CGI cutscenes or other (un)necessary game-changing frills to improve your gameplay/storyline quality? You might as well go and mod the upcoming, or current FF games to suit your "revamped" FF7 needs in case it's CRUCIAL (Morrowind fanboys did the exact same thing in terms of Skyrim modding too...?) Would love to see where they went with Shenmue this time though (been a while so I am highly interested in "next-gen" ideas and how they will fit into the "mold" of series' unique world/gameplay) KH3 doesn't look THAT different but I came here for a new Hikki song (her dad "confirmed" that she will do the theme song) anyway so hah, lol.

How come one would find Louis C.K. to be entertaining in all honesty? His views about ethnic minorities or anything that's outside the U.S. and Canada are rather bigoted (yet people are totes "OK" with this and go for anything that's "homophobic" instead) and not exactly appropriate (as in both "up-to-date" and non-stereotypical sense). Then again, I don't expect much from our Netflix-digesting youth in terms of tastes... *deep sigh*

Here's something you should let sink in: Seeing as this is "Die's solo project" - is it more or less likely that he will be singing/screaming (perhaps the latter, see: latest Dir gigs) a lot more than often? I am not that familiar with his actual vocalwork/talents in all honesty...it's also hard to speculate on the lineup of this band. Firewall clique? Cipher as a second guitarist? Die's musician friends we rarely get to hear or see? inb4 DBZ seiyuu strikes again

Not the first place where you'd expect this but Not bad, really. edit: oh, Cat posted one KOHH video above already, lol.

Kaishun was confirmed to be his song according to ARCHE TRACK COMMENTARY- documentary extract (from Arche's JP Blu-spec edition I think?). Then again, his writing is sorta easy to recognize anyway (compared to Kaoru's writing in which his love for latest alternative trends is shown). @@CAT5: Die is not Kaoru

So - all hype, no substance?

We are all going 2 hell with this level of topic derailing loooool

^ Clever Sleazoid was aired on many occasions through certain music/entertainment-oriented Finnish (rising weeaboo fandom gave it some buzz and TV media, e.g. our local MTV eventually exposed the whole matter...and boom, WtD and Clever Sleazoid had their first international chartings in our country!) and German (first foreign shows were in Rock am ring/Rock im Ring I think) channels. Also, in terms of NA/Canada: we should not forget the way Fuse/MTV's Headbanger's Ball (should be familiar to you, no?) promoted them back in late '05/06... (first international media channels/programs to air "Obscure", shocker!) Also, I cannot see how they'd use engrish in order to avoid censors - are there any legit sources that indicate such action (e.g. Firewall staff)?

If we have to stick with blackdoll's definition of what is a "breakdown" (then again, "breakdown" is a vague concept) - math-y acts like "The Fall of Troy" or such tend to have breakdowns I am rather fond of instead of this OH! DUNDUNDUN-goofery (looking at you, lynch.) : And now back to how I understand "breakdowns" generally (rhythmic/simplified pattern etc. - doesn't have to be one note chugging or tom abuse): My quirky favs Primus and Mr. Bungle used to have some funny breakdowns, that also sport tons of oomph without resorting to unnecessary lowered tuning craze E.g. Also, in terms of "pre-7-string" DEG (no shitstorms, please):

^ I am not meaning to knock off or derail this thread but "if you're fan of Yamapi's acting or fan of him as a singer." basically takes all the attention away from other details that surround/happen in the said drama. I ain't on the same board as many other "Yamapi haters" but it's given that his acting/singing basically obscure the context that surround his activities - e.g. his musical ventures in US? Stans are totally cool with this because "[high shrieking]YAMAPIII!!". The drama he is starring in becomes a flop? Everyone's idgafing because "Yamapii" all over again...my point was that he or his staff should do something about him being hyped to the point where no one cares about plots or contexts he's involved in (just as long as *HE* is there). I guess that is why I rarely follow J-doramas anyway (aside from manga/anime-to-drama conversions being generally awkward) - every time when someone praises certain J-drama, they ALWAYS have to go with SINGLE (and only!) mention about Johnny's or some other aidoru in case she/he is there ("fuck the plot"-mentality), and this is not very informative about doramas' overall quality tbh. Consequently, you might as well risk and waste your time on possibly bad flicks with hyped casts and whatnot. Speaking of K-dramas, I have "Kill Me, Heal Me" on hold...might defo keep an eye on "Producer" and other highlights that were brought up in here. Only if I could do something about my short, drama-specific attention span lol.

If we have to speak in defense of what they did to CLEVER SLEAZOID (believe me - I didn't like the change either until I "got the gist" of their actions...doesn't mean I wouldn't prefer the single version though), 'twas the only way they could do in order to make the song "fit" rather than throw in a single version that was more or less reflecting the songwriting process/era it was in (WtD leftover, btw).

Awww cute MOAB hating like in those good old days... Speaking of which, MOAB is one of their most consistent releases - songs flow much better + you don't have to wonder about odd song positions

>no "Bonjour Honey" on a throwback poll list >no "Bonjour Honey" on a throwback poll list >no "Bonjour Honey" on a throwback poll list >no "Bonjour Honey" on a throwback poll list >no "Bonjour Honey" on a throwback poll list *swirls away*

WHY ARE U DOING THIS TO ME STALLION #Direndeathmatch2k15

...they have no butt though

WtD DOES have the shittiest production in Dir's repertoire though (e.g. member-specific mixes are effed up to the core - Die's riffs drown into Kaoru's parts every now and then + Tosher's bass tone is too painful to hear) - disregard MISSA (since it's an indie release anyway). Speaking of live surprises, I won't be amused if they went ahead with 04-05 nostalgia frills as a bonus (aside from Fukai - say, Asunaki or New Age would be good to perform again?)

"FUCK" Dat promo edgy.