Pretsy

Show from Kishidan is calling - he wants his weave back
 

 
I know that it's supposed to be a knock on Bousouzoku-gang/biker style, jk here lol

Thanks to everyone who tuned in last night, it was a blast!
 

 
Slay, Japanese Richard "Happy Feet" Gere, slay!!

Bring back Dozing Green, you dinguses.

You can't fight crime if you ain't cute.
 
 
I tend to not even hear lyrics when listening to music, as strange as that is. I don't really have a subject matter I prefer, but I do have subjects I find quite distracting.
 
Like Bear, super preachy lyrics are a turn-off for me, as are incessantly vapid ones like this song.

hashtag said it was LADIES ROOM band.
 

in all related articles, DECAYS is stated as project established by Die & 樫山圭(koshiyama kei), and imo it is possible (but not very certain) that they will invite other Vo. to develop twin-vocal-chemistry in the future...but at this moment, 小林祐介(kobayashi yuusuke) is their stationary Vo.&Gt., and he seems NOT only side- or back-vocal despite using "guest" (as "guest" does NOT imply "less important")

After Akane dropped his "I am so anti religion" attitude he had to choose something else to be angry at. Let's see it positive: now we have something new to laugh about.
 
Also yes, I am one of those filthy leechers. Like others I have not the privilege to buy shittons of music, especially japanese music. Most of my buys are now from bandcamp or alternative stores (or secondhand shops), but as many have said, japanese bands have the tendency to make access to their material very difficult for foreigners. Or you could still get it, but it costs just so much. And while once in a while I spend 80€ for a few CDs, I am not going to do that all the time.
 
But then I mostly listen to old, obscure shit. And I don't know how much the 90s VK bands that had 10 fans feel about it (they probably don't care).
 
I wouldn't give a shit about what the fandom says. VK has the most delusional fanbase, like Kareki. I remember her from a German Manga board and she has always been an entitled bitch. She was exactly the same rabid fangirl/bangya who thinks she knows the banmembers the best, as if they are her BFFs in real life. And fans like this who believe they are the bands true fan/waifu will think they have the right to dictate others what they are allowed to do or not. They are utterly pathetic and to be ignored.

Japanese Jesus. He's come back to save you and your heathen ears!

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

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.

He deleted that tweet loooool

Party bus with trve elite guyz just arrived

the guitar tone somehow reminds me of the soundtrack to those shitty new Yoshi's Island games

Artist: cali≠gari Album: 12 01. わるいやつら (Warui yatsura) 02. 脳核テロル (Noukaku Terror) 03. 颯爽たる未来圏 (Sassou taru mirai-ken) 04. セックスと嘘 (Sex to uso) 05. トゥナイトゥナイ ヤヤヤ (Tonight Toniyayaya) 06. ギムレットには早すぎる (Gimlet ni wa hayasugiru) 07. とある仮想と (Toaru kasou to) 08. 紅麗死異愛羅武勇 (Crazy I Love You) 09. バンバンバン (Ban Ban Ban) 10. フィラメント (Filament) 11. あの人はもう来ない (Ano hito wa mou konai) 12. さよならだけが人生さ (Sayonara dake ga jinsei sa)
Rating: | A fine achievement from the masters of weird.
 
When I heard the sad news that long-time drummer Makoto was out of cali≠gari, the future did not seem very bright for the band. At least, that's what I thought. cali≠gari have been kind of slacking off in terms of releases these past few years anyway – sporadic activity, lots of live-only and fanclub-only cash grabs, you name it. I, however, cannot hate them no matter what they do, as long as they deliver quality tunes I can get into. This album continues to prove that statement right, while at the same time asserting that they remain a force to be reckoned with, even as a three-piece.

12 is another typical cali≠gari full-length (as much as you can call such a quirky band 'typical'), packed with catchy melodies and occasional crazy outbursts. The band manages to find a decent balance between those two extremes. Gone are the days of totally mental freak-outs, like "Hakkyou Channel" for example, but they can still pack a punch when needed. Case in point, take the frantic trance-like pummeling punk of an opener "Warui yatsura", or the follow-up track "Noukaku Terror." These filthy little beasts contrast well with the album's brighter and airier compositions such as the gorgeous revamped version of "Tonight Toniyayaya" (proving that the creative juices are still flowing) or the sweet closing track "Sayonara dake ga jinsei sa", reminiscent of another old tune of farewell, "Good Bye."

The best bits of 12, however, are the instances where the band isn't afraid to openly show their love for '80s new wave and pop nostalgia. Songs like "Sex to uso", "Gimlet ni wa hayasugiru" and the like are characterized by big fat slappin' bass goodness, twinkly synths, sharp cleaned-up guitar tones and… is that saxophone I'm hearing?? Clearly, they spared no creative expense when arranging these fine pieces of 'updated throwback' music. There’s even a nod towards a sort of proto-VK atmosphere (very much like what they did around 1998-1999) in tracks like the swift "Sassou taru mirai-ken," the post-punk tinged sax-o-rama of "Crazy I Love You", and the aforementioned "Sayonara…". Altogether, these colorful elements make this full-length both enjoyable for hardened, long-time cali≠gari fanatics and those new to the band's curious antics.

Overall, 12 paints a picture of a band of 'professional eccentrics' who still know how to rock out as well as craft some interesting songs. The days of youth are gone, of course, so one mustn't expect an onslaught of all-out craziness. They more than make up for that with a big bunch of catchy moments that blends their past styles and influences into a powerful mixture that sounds anything but dated. In short, this is probably the best cali≠gari has done since their comeback. I cannot wait to see & hear what the future holds!


Support the band! 12 @ iTunes (Jp)
12 @ CDJapan
12 @ Yesasia

I through and fuvk up, he throughs while fuvking up, we're all throughing the fuvk up.

I understand your point, for me Namie hasn't ever been an artist, rather a human vocaloid for some of the best songwriters in Japan. This album solidifies it.
 
 

 
also yas

lmfao. They missed the perfect opportunity to throw him on a cross for that extra edgy imagery. If Reita doesn't wear this outfit during all live shows promoting the album, I'm going to be deeply disappointed.

So - all hype, no substance?

now go listen to SADS

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

Amazing moment when me and Pretzy have been butt buddies since Dir en grey's debut.
 
We make love while explaining their music every night (I say we go at it to Uroko tonight, bro).
 
Been hip to dat Unraveling ass before Tinder.
 
Beat ya 2 the punch

What the.
 
Well, to be honest, Die's been my favourite composer in DEG for a while and I felt that his writing on ARCHE in particular was a step above what the other guys (particularly Kaoru) came up with. My feelings on this are similar to my initial feelings towards sukekiyo: I'd rather see him do something he loves away from Dir en grey as opposed to just doing Dir en grey and feeling artistically limited. I'll wait to hear more before I decide if the project is for me or not, though.

PREZTELS!!! WHAT R ur thoughts on the absence of long songs

Vinushka was that one rare "long" song by Dir en grey that I took to. At first I thought DIABOLOS was awesome for the heavier section; but then you start to realize it's just the same 4 minutes repeated to buffer the length and it becomes a chore to listen to. With Vinushka, I never had that problem.
 
Generally, it feels like Dir en grey are not "progressive" enough to tackle songs of that length. With 3-5 minute songs, there is no great demand to do anything crazy complex in terms of performance or harmony; but when you start stretching music to 8+ minutes, musical development becomes crucial and necessary. When 12012 (I believe it was) tried to do a song that stretched that long, it was garbage because it went nowhere.
 
Though harsh, my thoughts are: if you're going to pull what 12012 did, or what Dir en grey did with DIABOLOS, there is literally no reason why I should listen to the song in its entirety, or at all after the first listen. There is nothing there to appreciate aside from one riff here or there they may come up with; but that one tiny section should not be reason to have to sit through something for 8+ minutes. The remake of MACABRE hits this point home for me. There is one part in the whole remake -- about 12 minutes in -- that I would want to listen to again. And it's unfortunate, because I'm not the kind of person to skip forward in a song, listen to one part, and be done with it. I want to appreciate that one piece of music on its own terms; but when there's nothing there to appreciate, why bother?