Senedjem

Oh wow Poe-zo? Random! Datenshi were pretty sick

oh no

DEZERT ha impact!

Loki look (NOT relevant to his forthcoming new band):

those church synths at the start sound like the menu music from a crash bandicoot game


whole thing afterwards is shitty evanescence-core mallgoth wank

those church synths at the start sound like the menu music from a crash bandicoot game


whole thing afterwards is shitty evanescence-core mallgoth wank

those church synths at the start sound like the menu music from a crash bandicoot game


whole thing afterwards is shitty evanescence-core mallgoth wank

yeah but who cares

it's a good sound and we should be thankful that there's more than one band doing it.

yeah but who cares

it's a good sound and we should be thankful that there's more than one band doing it.

yeah but who cares

it's a good sound and we should be thankful that there's more than one band doing it.

yeah but who cares

it's a good sound and we should be thankful that there's more than one band doing it.

Where's my royalties check?

Jigsaw9, please write from your own account, buddy :v

I hope all of bands you like disbanded, you is a piece of shit! Your idiot!

Oh wow Poe-zo? Random! Datenshi were pretty sick

Onan thooooo

their new maxi single "DRiVE" will be released at 2015/02/18 (2 TYPE)
 
TYPE A (2,160yen) will include CD+DVD (including "DRiVE" PV), and TYPE B (1,620yen) will include CD only
 
[CD track list]
01.DRiVE
02.invarant
03.xxx. (included in TYPE B )

Artist: DEZERT Album: 「タイトルなし」 Score: Sometimes, you just want some DEZERT before dinner.  
 
DEZERT fall under the umbrella of “up-and-coming” visual-kei bands influenced by earlier acts— “homage-kei,” if you will—with “friend bands” Grieva and AvelCain. Grieva is on the far left of the spectrum, providing the most old-school-meets-modern-day sound; DEZERT is on the far right, as they are the heaviest of the three and mix later influences, such as Merry, Lynch., and D’espairsRay with nü-metal; AvelCain is in the middle, drawing on influences from turn of the century~mid 2000’s bands while remaining as a happy medium between the two styles of the other groups in question. All three have similarities, such as dark themed music and resounding feelings of angst, which provide a modern twist on the visual stylings of days past. In addition, these bands appear to tour with each other quite often and have even participated in some beautiful photo collaborations. Of this trinity, DEZERT is actually the least discussed aspect on MH, even though they are actually the oldest (and last to release a full LP). So, how does 「タイトルなし」 hold up to other visual-kei releases of this year?
Originally, titled “嘔吐ニ関スル勅語(outo ni kansuru chokugo)”, an abrupt name change to「タイトルなし」 ("Untitled"), generated a bit of anxiety amongst fans. As this band has released a handful of singles and 2 mini-albums before now, I was fairly concerned that an uninspired album title would pave the way for an album taking a page out of 朱’s (Suzaku) book—in case you’ve gotten, they had a whole album with only 4 new songs, 1 of which was a short intro. Thankfully, this album did not fall for the enticing, lowly hung, fruit and pulled a lynch. by releasing an album made of entirely new material out of nowhere. From the get-go, it dishes out hard-hitting tunes in their Sunday best nü-metal style, presented in a way that is 3~4 steps above the quality of their previous releases. As someone who didn’t care for their two previous works, 精神科医(拒食症)のスナッフフィルム集 (Seishinkai(Kyoshokushou)no SNUFF FILM Shuu) and 特製・脳味噌絶倫スープ〜生クリーム仕立て〜 (Tokusei・Noumiso Zetsurin SOUP～Nama CREAM Shitate～), and somehow always found something preventing me from really digging these guys, I went into this album rather aloof. With the start of “----,“ I immediately lost my jaded / faded disposition. Finally, this had done it for me.
One of my immediate thoughts while listening to this album was that fans of early Mucc will probably dig this. The first two songs, “----“ and “「嘔吐」“ (Outo) are both short, but heavy, numbers with a ton of emphasis on bass. It’s nice to hear a visual-kei song, let alone two songs, with this dynamic—usually there is a lot of guitar wankery and soloing for the sake of soloing. Here, SaZ steals the show, while キラ-Kira- supports this bass-driven melody with brooding guitar harmonies. In terms of vocals, those lovely aesthetical vocals from “「眩暈」” (Memai) are back, but quickly turn turbulent at the start of “「嘔吐」,” which I suppose is where 千秋-Chiaki- vomits his feelings, aptly happening in song who’s name translates to “vomiting.” What works really well here is that after guttural part, the melody of the song returns to the original theme, showing that these songs are of the same idea.
A good chunk of this album is in the band’s typical style—still in the realm of nü-metal, mixed with a bit of –core and angsty “ZETSuBOu!!!” delirium we’ve all come to know and love from the early 2000’s. If bands like Mucc, Kagerou, and Vidoll—groups that often used heavy verses and a poppy chorus, sometimes paired with mumbling or frantic breathing—spark some feelings of nostalgia, then you know exactly what I’m talking about. “「殺意」,” (Satsui) the promo track for this album, falls into aforementioned category, is typical DEZERT in a slightly more disjointed form. One strength here is that “「殺意」” has quotable lyrics. However, the flow of how he says "satsui" eight consecutive times is awkward: with a 4/4 time signature over a chorus in a different tempo and key, it sounds disjointed. Since the pv showed up, I was not into this song for whatever reason. Listening to it in the context of the album, I do like it a bit better, but it is far from the best track on here.
“Infection”, “「教育」,” (Kyouiku) “脳姦少年,” (Noukan Shounen) “doze.,” fall into this category as well, ordered from least preferred to most. “Infection” felt like a filler track to me; “「教育」” is more of the same heavy verses with poppy chorus –core song that I’ve heard before that is almost redeemed with some neat riffage; “脳姦少年” has some interesting Merry-like guitar work going on, albeit the chorus is really weak; and “doze.” sounded like something off of –OZ-‘s Versus, which was cool. I would also like to note that “doze.” has the frantic mumbling motif going on during one of the breakdowns. Nothing like a breakdown in your breakdown |D
DEZERT also threw in some lighter songs here as well, which is fairly new for them. I personally did not care for them myself, but, if those are your cup of tea, be sure to check out “さぁミルクを飲みましょう。” (Saa MILK wo Nomiamshou) (a more melancholy ballad about drinking milk), “「軽蔑」” (Keibetsu) (fairly straightforward indie / ojisan rock song), and “-26時の冷凍庫-” (26ji no Reitouko) (which is a decent piano outro). Without these tracks to break up the flow, this album would have undoubtedly been exhausting to listen to.
In addition to the first two songs, there were a few songs that I did really enjoy. The first is “胃潰瘍とルソーの錯覚” (Ikaiyou to ROUSSEAU no Sakkaku) : where did this Matina-styled riffage come from? From the get-go, this song has a mesmerizing draw. What’s interesting here is that this isn’t just an old-school revival song, it actually mixes a few different genres around in a way that I haven’t often come across before, especially in visual indie bands. Somehow “胃潰瘍とルソーの錯覚” sounds like a mix of Madeth Gray’ll and 鴉 (Karasu) and it works, gawddamit. I enjoyed the airy and wistful chorus, as well as how this song played on some new ideas that are not just dissident chugging. “「擬死」” (Gishi) is another powerful track. This song is one of their slower ~ mid-tempo’d numbers that brings back what DEZERT does best: creepy atmospheres that build into an angry mash-up of rage and smeared eye shadow. My favorite part is the guitar riff paired with a vocal melody that gently progresses upward in pitch as the tension in the song swells – phrasing like this is something visual-kei is in dire need of. Every so often, “「擬死」” gets quiet and then explodes into a break down with千秋-Chiaki- freaking the fuck out. Not to be shady, but Kaya could not.
Overall, this album is a decent debut for DEZERT, especially as a band who isn’t actually new and has quite a few releases prior to this. On the plus side, none of their earlier material is featured on here. On the down side, there isn’t enough of a change in style amongst the songs presented here that I never felt like “yeah, I’ve heard something like this before.” In comparison to the rest of their discography, the maturity they’ve shown here is enough to not feel like this was more of the same, but I would have been far more impressed had I not heard their earlier works before. With that being said, this is one of the best visual-kei albums I’ve heard this year. If you’re in the mood to feel your angst-kei oats, give this one a spin.

we dont talk about sparklies
my clay jug playing days are over...

we dont talk about sparklies
my clay jug playing days are over...

OOOOOHH COME ONNNN NOT THEMMMMMM
 
MOTHERFUCKERS GEEEEEZZZZZZZ
 
ITS ALL KAYA'S AND THAT SHIT ASS BAND OF HIS FAULT
 
MAAAAAN FUCK THAT

Jon dude your entire argument seems to be 'it's okay to suffer from a serious life-affecting mental illness unless you're in a band I like' and I'm sorry but that is so fucking selfish and self-righteous of you.