Pretsy

I could honestly admit that Uroboros seems to be the most "possible" album in terms of actual live renditions/performances. Even ARCHE (which *was* supposed to be the "live vibe" release in the first place) suffers from various, unconveyable matters in the eventual live context:
 
-  Kyo has severe difficulties to keep up with his original tempo during faster tracks a la "Revelation"
- "Uroko" sounds very tragic in the vocal and drumming department. MEOWMEOWMEOWMEOW (Kyo had 3 manipulated vocal tracks during "Kyoperas") and lots of wasted potential with those tom rolls. Kinda unbelievable that fans attempt to sweep this issue under the carpet...
- Why is none of the guitarists playing the rhythm part on "Behind" during lives? And yeah, at least double-track Kyo during lives, please.
- Some MH users said that they heavily compress guitars and other instruments during DVD recordings...well they don't! Even the most pro-shot-ish footages showcased that their live mixing does not match their current 7-string/5-string setups (whereas random oldies sound better when done so)
- I have addressed Rinkaku earlier already, no need to delve back.
 
In that sense, merely "Un Deux", "Tousei", "Midwife" (from what I've heard idk), "Sustain the Untruth" and "The Inferno" were such numbers which they had no major nor noticeable difficulties with.
 
Passion?
 
Technique is a prerequisite for being able to project passion or any other feeling. And from what I've witnessed, they do not utilize their possibilities to project the said things well. E.g. Kyo definitely has no professional idea about how his voice truly works in a variety of circumstances, nor does Shinya have any specific interest in realizing whether his e-drumlines make sense in a realistic scenario. Inter-bandmate relations are not my field of interest but I am seriously suspecting that their lack of specific interest towards each other and their expertise is starting to show up too much. Go figure.

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I also wanted to link a coupling to my hats-off-ish post above separately (if staff allows that):
Hands down one of their greatest efforts to me personally. I might have not been the fan of their prospective direction but it doesn't take their legacy away, like this or the whole s/t album for instance (which, despite my vast development in tastes, is still somewhat significant).  Really saddened to see these guys go (especially Ryo, my new found interest)

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I also wanted to link a coupling to my hats-off-ish post above separately (if staff allows that):
Hands down one of their greatest efforts to me personally. I might have not been the fan of their prospective direction but it doesn't take their legacy away, like this or the whole s/t album for instance (which, despite my vast development in tastes, is still somewhat significant).  Really saddened to see these guys go (especially Ryo, my new found interest)

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I also wanted to link a coupling to my hats-off-ish post above separately (if staff allows that):
Hands down one of their greatest efforts to me personally. I might have not been the fan of their prospective direction but it doesn't take their legacy away, like this or the whole s/t album for instance (which, despite my vast development in tastes, is still somewhat significant).  Really saddened to see these guys go (especially Ryo, my new found interest)

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I also wanted to link a coupling to my hats-off-ish post above separately (if staff allows that):
Hands down one of their greatest efforts to me personally. I might have not been the fan of their prospective direction but it doesn't take their legacy away, like this or the whole s/t album for instance (which, despite my vast development in tastes, is still somewhat significant).  Really saddened to see these guys go (especially Ryo, my new found interest)

I also wanted to link a coupling to my hats-off-ish post above separately (if staff allows that):
Hands down one of their greatest efforts to me personally. I might have not been the fan of their prospective direction but it doesn't take their legacy away, like this or the whole s/t album for instance (which, despite my vast development in tastes, is still somewhat significant).  Really saddened to see these guys go (especially Ryo, my new found interest)

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I don't think even the most critic voices would dare to say anything negative about them at this point seeing as they played a huge role (along with other acts) in this 00s-10s VK wave or w/e you name it (i.e. how we, 20-somethings and prolly 30s know VK in its glory).

I could honestly admit that Uroboros seems to be the most "possible" album in terms of actual live renditions/performances. Even ARCHE (which *was* supposed to be the "live vibe" release in the first place) suffers from various, unconveyable matters in the eventual live context:
 
-  Kyo has severe difficulties to keep up with his original tempo during faster tracks a la "Revelation"
- "Uroko" sounds very tragic in the vocal and drumming department. MEOWMEOWMEOWMEOW (Kyo had 3 manipulated vocal tracks during "Kyoperas") and lots of wasted potential with those tom rolls. Kinda unbelievable that fans attempt to sweep this issue under the carpet...
- Why is none of the guitarists playing the rhythm part on "Behind" during lives? And yeah, at least double-track Kyo during lives, please.
- Some MH users said that they heavily compress guitars and other instruments during DVD recordings...well they don't! Even the most pro-shot-ish footages showcased that their live mixing does not match their current 7-string/5-string setups (whereas random oldies sound better when done so)
- I have addressed Rinkaku earlier already, no need to delve back.
 
In that sense, merely "Un Deux", "Tousei", "Midwife" (from what I've heard idk), "Sustain the Untruth" and "The Inferno" were such numbers which they had no major nor noticeable difficulties with.
 
Passion?
 
Technique is a prerequisite for being able to project passion or any other feeling. And from what I've witnessed, they do not utilize their possibilities to project the said things well. E.g. Kyo definitely has no professional idea about how his voice truly works in a variety of circumstances, nor does Shinya have any specific interest in realizing whether his e-drumlines make sense in a realistic scenario. Inter-bandmate relations are not my field of interest but I am seriously suspecting that their lack of specific interest towards each other and their expertise is starting to show up too much. Go figure.

I could honestly admit that Uroboros seems to be the most "possible" album in terms of actual live renditions/performances. Even ARCHE (which *was* supposed to be the "live vibe" release in the first place) suffers from various, unconveyable matters in the eventual live context:
 
-  Kyo has severe difficulties to keep up with his original tempo during faster tracks a la "Revelation"
- "Uroko" sounds very tragic in the vocal and drumming department. MEOWMEOWMEOWMEOW (Kyo had 3 manipulated vocal tracks during "Kyoperas") and lots of wasted potential with those tom rolls. Kinda unbelievable that fans attempt to sweep this issue under the carpet...
- Why is none of the guitarists playing the rhythm part on "Behind" during lives? And yeah, at least double-track Kyo during lives, please.
- Some MH users said that they heavily compress guitars and other instruments during DVD recordings...well they don't! Even the most pro-shot-ish footages showcased that their live mixing does not match their current 7-string/5-string setups (whereas random oldies sound better when done so)
- I have addressed Rinkaku earlier already, no need to delve back.
 
In that sense, merely "Un Deux", "Tousei", "Midwife" (from what I've heard idk), "Sustain the Untruth" and "The Inferno" were such numbers which they had no major nor noticeable difficulties with.
 
Passion?
 
Technique is a prerequisite for being able to project passion or any other feeling. And from what I've witnessed, they do not utilize their possibilities to project the said things well. E.g. Kyo definitely has no professional idea about how his voice truly works in a variety of circumstances, nor does Shinya have any specific interest in realizing whether his e-drumlines make sense in a realistic scenario. Inter-bandmate relations are not my field of interest but I am seriously suspecting that their lack of specific interest towards each other and their expertise is starting to show up too much. Go figure.

I could honestly admit that Uroboros seems to be the most "possible" album in terms of actual live renditions/performances. Even ARCHE (which *was* supposed to be the "live vibe" release in the first place) suffers from various, unconveyable matters in the eventual live context:
 
-  Kyo has severe difficulties to keep up with his original tempo during faster tracks a la "Revelation"
- "Uroko" sounds very tragic in the vocal and drumming department. MEOWMEOWMEOWMEOW (Kyo had 3 manipulated vocal tracks during "Kyoperas") and lots of wasted potential with those tom rolls. Kinda unbelievable that fans attempt to sweep this issue under the carpet...
- Why is none of the guitarists playing the rhythm part on "Behind" during lives? And yeah, at least double-track Kyo during lives, please.
- Some MH users said that they heavily compress guitars and other instruments during DVD recordings...well they don't! Even the most pro-shot-ish footages showcased that their live mixing does not match their current 7-string/5-string setups (whereas random oldies sound better when done so)
- I have addressed Rinkaku earlier already, no need to delve back.
 
In that sense, merely "Un Deux", "Tousei", "Midwife" (from what I've heard idk), "Sustain the Untruth" and "The Inferno" were such numbers which they had no major nor noticeable difficulties with.
 
Passion?
 
Technique is a prerequisite for being able to project passion or any other feeling. And from what I've witnessed, they do not utilize their possibilities to project the said things well. E.g. Kyo definitely has no professional idea about how his voice truly works in a variety of circumstances, nor does Shinya have any specific interest in realizing whether his e-drumlines make sense in a realistic scenario. Inter-bandmate relations are not my field of interest but I am seriously suspecting that their lack of specific interest towards each other and their expertise is starting to show up too much. Go figure.

i-it's because of downloading guys, we swear!

they're really reinventing the whole band concept with this one!

Feel the speed as Shinya's limbs become entangled in his attempts to deliver brutal double bass passages and blast beats. 

PfffffttttLMAO.
 
(speaking of relevant goofery, Dir en grey's temporary 2009 Myspace logo mishaps, anyone?)

A few thoughts for now (imposing high standards is not cool but they HAVE lots of potential with particular points of improvement here:
 
Pros:
 
+ Ruki's gutturals and screams improved a lot (both A-side and this first B-side prove that). At this point they could utilize his improvement to the very extent in their later efforts.
+ Kai sounds less boring/bored (or both actually, haha). I am pretty sure he got a hint from foreign fans and/or metalheads when it comes to his earlier, sloppy playing in heavier tracks.
 
In the middle:
 
x Very clean production values. Not sure what I should think about them when...
 
Cons:
 
- ...Aoi and Uruha mix still makes no sense. You have two guitarists - why do guitars here sound like as  if you double-tracked them instead of having 2 axemen cooperating "naturally"?
- Reita is as interesting as Paul Gray, oops.
- they could just throw out those (rehashed) melodic passages if they obviously served no particular purpose in the song (MALUM). UNDYING could do much better in the melodic department as well - and preferably without random 0-3-0-1-0-0-3 passages disrupting the build.

Japanese bands associated with SMEJ (or pretty much any grandiose, major label) rarely would go for non-playback lives when its about standard releases like this. Rather odd to see sukekiyo here tho than take say, DEG which would feel comfortable in such TV lives.

ion give a fuck about their wishes; they can police their japanese audience all they want, it won't work to the same extent here.