Pretsy

Cat...cat, cat, cat, cat.
 
 
1) I come from the same league as Furik or maybe even Stoic- as in being long-time (prolly senile, lol jk) DEG fans who still cling upon them despite mustering a large plethora of feels towards the band - love, hate, disgust, awe, confusion, nostalgia...
 
Even if I had been more likely to retell redundant stories on how early DEG affected my life and so on , it wouldn't rule out the fact that I appreciate cohesiveness of their works as DEG circa '06...to some extent. While MOAB and Uroboros prioritized the consistent formation of Dir's "primary sound" (which they actually lacked if we were to look back to Macabre or so), the latter might have motivated them to execute the (possibly) never-ending cycle of retrospective albums (feel free to contribute in case I missed the "new" on ARCHE for instance), without much new ado and whatnot. Is that "a sign of growth"? I'll leave it for you guys to think about for a moment.
 
2) 
 
 
This means you are counting "ARCHE"  in as well? No one from the band has ever said they are "out" from visual kei on that matter (also, as my lovely namesake put it simply: once vk, always vk)? Also, I will let their current antics be the main statement here, heh.
 
3)
 
Speaking of "duds", I personally see the primary metal direction they are cherishing ever since 2008 (since nu metal "is not metal", amirite friends?) as the main dud of their overall career. Why? It doesn't take a genius to note that various metal epics or just standalone bangers are just de trop and too over-the-top for certain key players in the band - Shinya as a case in point. Consequently, my current reaction towards any kind of banger (which cool kids call "br00tal") they are churning out in metal-like format is similar to how classicism aficionados would react to any kind of Dadaist piece...
 
I like my DEG as the band that doesn't overshoot performances and sticks to executable, coherent ideas and ear-friendly arrangements (mastering and dying cat highs, urgh). 
 
Summary of my mixed feelings:
 
Dir en grey
+ Appreciated variety of ideas
+ Moderate but brave decisions in terms of arrangements
+ Try-hard numbers kept to minimum (except for a few occasions, but JUST a few)
+ Ballads are really moderate but still retain their spot-on value
- No direction
- Clusterhecking value, no signs of coherent structure
- Mixing or mastering tends to get mixed (there are great moments, but there are also horrid moments)
 
DIR EN GREY
+ Obvious signs of direction/general idea per album, even with random experiments
+ Dynamic, collaborative riffcraft (to most extent at least)
+ Interesting aspects of arrangement or vocal-specific experiments (e.g. RED SOIL)
+ Heavier tracks tend to sport more oomph
- ...but are also more likely to get campy or totally ridiculous for the most part (um, "The Inferno"?)
- Ballads are much poorer and focus on Kyo's performance way too much
- Most  songs sound like as if they were glued together, rather than formed as solid, coherent entireties
- Retrospective concept behind each post-MOAB album is getting tiresome, stop.
 
All in all, I might be still that sucker with biased votes on old DEG - sorry guys! *Kardashian shrug response to Kanye*

Cat...cat, cat, cat, cat.
 
 
1) I come from the same league as Furik or maybe even Stoic- as in being long-time (prolly senile, lol jk) DEG fans who still cling upon them despite mustering a large plethora of feels towards the band - love, hate, disgust, awe, confusion, nostalgia...
 
Even if I had been more likely to retell redundant stories on how early DEG affected my life and so on , it wouldn't rule out the fact that I appreciate cohesiveness of their works as DEG circa '06...to some extent. While MOAB and Uroboros prioritized the consistent formation of Dir's "primary sound" (which they actually lacked if we were to look back to Macabre or so), the latter might have motivated them to execute the (possibly) never-ending cycle of retrospective albums (feel free to contribute in case I missed the "new" on ARCHE for instance), without much new ado and whatnot. Is that "a sign of growth"? I'll leave it for you guys to think about for a moment.
 
2) 
 
 
This means you are counting "ARCHE"  in as well? No one from the band has ever said they are "out" from visual kei on that matter (also, as my lovely namesake put it simply: once vk, always vk)? Also, I will let their current antics be the main statement here, heh.
 
3)
 
Speaking of "duds", I personally see the primary metal direction they are cherishing ever since 2008 (since nu metal "is not metal", amirite friends?) as the main dud of their overall career. Why? It doesn't take a genius to note that various metal epics or just standalone bangers are just de trop and too over-the-top for certain key players in the band - Shinya as a case in point. Consequently, my current reaction towards any kind of banger (which cool kids call "br00tal") they are churning out in metal-like format is similar to how classicism aficionados would react to any kind of Dadaist piece...
 
I like my DEG as the band that doesn't overshoot performances and sticks to executable, coherent ideas and ear-friendly arrangements (mastering and dying cat highs, urgh). 
 
Summary of my mixed feelings:
 
Dir en grey
+ Appreciated variety of ideas
+ Moderate but brave decisions in terms of arrangements
+ Try-hard numbers kept to minimum (except for a few occasions, but JUST a few)
+ Ballads are really moderate but still retain their spot-on value
- No direction
- Clusterhecking value, no signs of coherent structure
- Mixing or mastering tends to get mixed (there are great moments, but there are also horrid moments)
 
DIR EN GREY
+ Obvious signs of direction/general idea per album, even with random experiments
+ Dynamic, collaborative riffcraft (to most extent at least)
+ Interesting aspects of arrangement or vocal-specific experiments (e.g. RED SOIL)
+ Heavier tracks tend to sport more oomph
- ...but are also more likely to get campy or totally ridiculous for the most part (um, "The Inferno"?)
- Ballads are much poorer and focus on Kyo's performance way too much
- Most  songs sound like as if they were glued together, rather than formed as solid, coherent entireties
- Retrospective concept behind each post-MOAB album is getting tiresome, stop.
 
All in all, I might be still that sucker with biased votes on old DEG - sorry guys! *Kardashian shrug response to Kanye*

Cat...cat, cat, cat, cat.
 
 
1) I come from the same league as Furik or maybe even Stoic- as in being long-time (prolly senile, lol jk) DEG fans who still cling upon them despite mustering a large plethora of feels towards the band - love, hate, disgust, awe, confusion, nostalgia...
 
Even if I had been more likely to retell redundant stories on how early DEG affected my life and so on , it wouldn't rule out the fact that I appreciate cohesiveness of their works as DEG circa '06...to some extent. While MOAB and Uroboros prioritized the consistent formation of Dir's "primary sound" (which they actually lacked if we were to look back to Macabre or so), the latter might have motivated them to execute the (possibly) never-ending cycle of retrospective albums (feel free to contribute in case I missed the "new" on ARCHE for instance), without much new ado and whatnot. Is that "a sign of growth"? I'll leave it for you guys to think about for a moment.
 
2) 
 
 
This means you are counting "ARCHE"  in as well? No one from the band has ever said they are "out" from visual kei on that matter (also, as my lovely namesake put it simply: once vk, always vk)? Also, I will let their current antics be the main statement here, heh.
 
3)
 
Speaking of "duds", I personally see the primary metal direction they are cherishing ever since 2008 (since nu metal "is not metal", amirite friends?) as the main dud of their overall career. Why? It doesn't take a genius to note that various metal epics or just standalone bangers are just de trop and too over-the-top for certain key players in the band - Shinya as a case in point. Consequently, my current reaction towards any kind of banger (which cool kids call "br00tal") they are churning out in metal-like format is similar to how classicism aficionados would react to any kind of Dadaist piece...
 
I like my DEG as the band that doesn't overshoot performances and sticks to executable, coherent ideas and ear-friendly arrangements (mastering and dying cat highs, urgh). 
 
Summary of my mixed feelings:
 
Dir en grey
+ Appreciated variety of ideas
+ Moderate but brave decisions in terms of arrangements
+ Try-hard numbers kept to minimum (except for a few occasions, but JUST a few)
+ Ballads are really moderate but still retain their spot-on value
- No direction
- Clusterhecking value, no signs of coherent structure
- Mixing or mastering tends to get mixed (there are great moments, but there are also horrid moments)
 
DIR EN GREY
+ Obvious signs of direction/general idea per album, even with random experiments
+ Dynamic, collaborative riffcraft (to most extent at least)
+ Interesting aspects of arrangement or vocal-specific experiments (e.g. RED SOIL)
+ Heavier tracks tend to sport more oomph
- ...but are also more likely to get campy or totally ridiculous for the most part (um, "The Inferno"?)
- Ballads are much poorer and focus on Kyo's performance way too much
- Most  songs sound like as if they were glued together, rather than formed as solid, coherent entireties
- Retrospective concept behind each post-MOAB album is getting tiresome, stop.
 
All in all, I might be still that sucker with biased votes on old DEG - sorry guys! *Kardashian shrug response to Kanye*

If I was forced to choose one era, I would have a difficult time, but I have honestly enjoyed the evolution of the band from their early tracks to now.
 
Ain't Afrad to Die was the first Dir en grey song I heard after seeing it rated the #1 release of the month on a J-Rock website I frequented.  I had a friend of mine download it off Audiogalaxy, and I thought it was beautiful.  I always loved dark and melancholy music - and that song filled that void.
 
I soon after purchased 鬼葬 [Kisou] at my local Fukuhara as it had just been released, and I was captivated.  It was so much darker, heavier, and manical than the other J-Music I had been introduced to by my Japanese friends, and I embraced it.  After 鬼葬 [Kisou], I went backwards in the discog and bought Macabre, then Guaze, then Missa (that one was hard to find in stores) - and downloaded the early tracks and B-Sides that I couldn't find.  I became a loyal fan ever since.  From that point, I purchased every EP and album following it that was relased and have enjoyed them all, and still enjoy them all.
 
The more I listen to their releases, the more I come to feel that 鬼葬 [Kisou] is my most beloved album by them.  It was experimental and varied, with a great mix of slow tracks and headbangers.  But I still have grown to love their current incarnation, and actually have widened my muscial tastes becuase of their evolution.

This is a very interesting thread. I got into Dir en grey when Macabre came out in 2000. I randomly downloaded some of their songs on Napster not knowing who or what they were. (Not to mention they were the band that got me into visual music.) Since then, I have been a fan. I will have to say, despite their earlier days being full of nostalgia, I enjoy their career in full. Every release has been something different and somewhat of a surprise. I loved how dark Macabre was and I eventually backcatalog'ed Gauze and loved it too. Kisou was extremely dark and I loved the constant industrial elements in the album. 
 
It was't until Vulgar that I truly knew that I loved this band. I was constantly researching them and following their every move with new singles (thanks to then other j-rock forums). Every release I was expecting something heavier and hoped the band would cross over to the States (as promised in the Vulgar booklet).
 
As much backlash the band gets, I am not ashamed to say they got me into Japanese music a lot (them and Mad Capsule Markets). Like I said, I enjoyed every release so far (maybe not so much DSS) but it's fun to see what they come up with in each album. Gauze and Macabre were pretty typical for visual bands of the time but Kisou was very experimental and full of electronics and industrial touches. Vulgar was their foray into a more modern almost heavier rock (thanks to my all-time love six Ugly). WTD was their way breaking into the hipster scene-emo rock. and so on.
 
I'm rambling. I just want to say I can't break the band down into two categories. They are very diverse and the band is still the same band they were in the early days. Just, each album is different and that's what makes them special.

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

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

DEG needs to troll their fans again someday
 
BAKA!!

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)...

Skip to 41:00
 
Great I'll remake. I almost didn't recognize the song.

BAKA!!!

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)...

Source
 
Samples
 
No Closet Child or Like an Edison privs have been announced yet.

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?)

Sounds great. It's like something off of True.
After all of those cringe-inducing Butterfly singles, this is a proper return to form.
 


 

Proposed new topic of discussion, original vs. remake, would be interesting to see which versions people prefer.
 
For example, my list, the preferred version is bolded. Counting only studio remakes and not acoustic versions etc.
 

業 (1997) - 業 (2013)
Ash (1997 behind the mask ver.) - Ash (1997 kaede ver.) - Ash (2000)
秒「」深 (1997) - 秒「」深 (2002)
霧と繭 (1997) - 霧と繭 (2012)
Unknown...Despair...a Lost (1998) - Unknown.Despair.Lost (2013)
残-ZAN- (1999) - 残 (2009)
密と唾 (1999) - 密と唾 (2011)
Hydra (2000) - HYDRA -666- (2007)
羅刹国 (2000) - 羅刹国 (2011)
children (2000) - children (2002)
MACABRE -揚羽ノ羽ノ夢ハ蛹- (2000) - MACABRE (2013)
鴉-karasu- (2002) - 鴉 (2013)
Bottom of the death valley (2002) - Bottom of the death valley (2013)
undecided (2002) - undecided (2008)
OBSCURE (2003) - OBSCURE (2011)
かすみ (2003) - かすみ (2013)
THE FINAL (2004) - THE FINAL (2013)
CLEVER SLEAZOID (2005) - CLEVER SLEAZOID (2007)

 
Before compiling this list I thought I was more sceptical towards their remakes than I actually am, turns out that I prefer the remake in 9 cases out of 17. THE FINAL is a draw because I really don't care for either version anymore.

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'll admit that The Inferno has grown on me and I no longer skip it, but HOLD THE FUCK UP are you saying that Kaishun is BORING?!? L!

Deeper Vileness is one of their better tracks. Honestly pretty much anything on MOAB is good in my opinion. Such an underrated album.

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

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

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

^ 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! ^^;