finnthesubhuman

Good because I was thinking I ONLY JUST STARTED COLLECTING THEIR RELEASES ARGH. But god I need to start using shit noodles in day to day conversation now.

Two things. Are they breaking up or is this translated Japanese VK lingo I haven't pinned down yet? I'm sorry but what?

Yeah...there's a whole album out lmao

I'm not entirely sure you know how to use the term sub par. I'm disappointed with this album. Sure, the focus on melody is great, and so very welcome after the recent flat-out reliance on heavy, which has definitely overstayed its welcome. But they managed to take out the things I liked the most about the last few albums. Rinkaku got the mix down perfectly. It's sombre, it's experimental, it's focused, it's subtle. It doesn't suffer from random heavy breakdown or unnecessary blast beat attempt. But then Sustain the Untruth came out with its...flat out refusal to do anything that actually worked lest it be compared with previous material. The band is trying so hard to continue their trend of ever-evolving material but this is the first time I've really thought well, that really didn't work for me, really...and quite a few of the new tracks are like that. I feel like the Unraveling EP didn't have cohesion either but it has the excuse of being a bunch of songs from different eras, different creative mindsets. Here, there's not really an excuse. If they had delivered an album of ventures like Rinkaku I probably would have loved it. Right now I'm just bothered by the fact this album is just some kind of ideological statement -- a step backwards disguised as a step forward. I would even go so far as to call it capitalisation on the reception of the old track remakes. People wanted pop and the band realised this and decided well why don't we try writing something new like that? The only problem is that they're ONCE AGAIN constraining their writing abilities to produce a PRODUCT rather than letting them write naturally. There was only one point in the half-decade I've been following them where I wasn't under the impression they were capitalising on SOMETHING popular...and that was Uroboros. I also hate the fact they turned the bass down when the clicky sound was MY FAVOURITE THING ABOUT DSS AFTER THE 7 MINUTE TRACKS. Why did they even? Is it the current producer's fault? Did Toshiya's fingers fall off? WAS IT TOO SIMILAR TO THE LAST ALBUM? Gensou no Warsaw was a pleasant surprise and I hate that it didn't last. But enough of negatives. Kyo has managed to avoid the problems he had on DSS. He's singing a lot more. He's not relying on growling. He's using his voice as another instrument. The riffs are a lot less RURUURURURURURcore. The songs do well in a shuffle, though I'm not inclined to sit down and listen to the whole thing in order. Phenomenon is weird. Track 14 is a bit like Vanitas 2.0 and I would love to have seen a version that was two minutes longer -- I'd call it my favourite cut, and it's truly beautiful. After a bunch of softer tracks The Inferno actually works. I feel pumped for it. Its placement is perfect. It's more fun than DSS but it suffers from flaws pretty much of equal nature. The best thing is that at least the band doesn't sound stale, which is something a lot of bands (especially in the Japanese rock scene) aren't able to boast of.

RIP Korn bass. I liked not having to use headphones to hear the bassline clearly.

From what I can tell he's just trying to go back to the pre-Ultramania ballad style. It'll grow. I wish he'd rap more considering nearly all of his singles are some sort of rap, but I guess people change. It's a shame he's not using that drummer to a greater extent because that dude is talented.

Also, a lot of people here have been giving Dir en grey a chance for the past 8 years.

The album is out and I've given myself a month to get into it. There was dubstep. It's pretty laid back even compared to ATOMOS.

Not entirely impressed. If they're going for the progressive shit they really need to write something cohesive like Uroboros. If they're going for a simplistic sound they need to write something catchy like the remake tracks on Unraveling. But it sounds like what they're doing is scraping together a bunch of ill-fitting tracks from the last five years of metal and hoping it will pass as an album...just like they did with DSS. I also maintain that their current look is the stupidest, ugliest look I've ever seen from any Japanese band for as far back as I can remember. Toshiya. Is wearing. A garbage. Bag. I know people dislike Uroboros but at least that album was consistent.

Shinya's looking at the camera. Effect broken.

And last.fm.

Well yeah. The difference between old Nega and later Nega is Hiroki. But anything released post-2009 including Perestroika and this sound pretty much the same band. It's only weird here because it doesn't feature the same musicians...

Only mindless people would think the bands sound different. The only difference aside from non-Undercode production is the lack of backwards whooshing noises between verses and choruses. It was the same with PERESTROIKA except there actually was a tiny difference then.

Would you let the Black Swan one go for 7€?

1. Dropped their name there to prove Girugamesh was entrenched in the '90s pre-metalcore fad. The release is signifcantly more nu metal than MUSIC based on a sludgier mix, slower verses, less electronics and explicitly catchy singing. Instead they went for a JUMPDAFUCKUP chant chorus. MUSIC introduced bitcrushing, which I believe Linkin Park did quite often on Hybrid Theory. Additionally, did not include SOAD in "if you sound like this you're playing that" paragraph. As for SOAD being experimental, how about dem verse-chorus-bridge formulas. 2. Roots was produced by Ross Robinson and inspired the Soulfly sound, not to mention containing collaborations with Limp Bizkit and Korn, the inclusion of simplistic detuned riffs and angsty lyrics, and "creepy" atmospheric verses (see: Lookaway). It sits in the middle of their career between the thrash of the early lineup and the groove of the post-Max lineup. I have never heard anyone refuse this phase the nu metal tag -- not even the purists, who usually leap to it first as an insult -- for either Roots or Soulfly's initial two or three albums. And I believe my exact words were "middle-era Sepultura", were they not? If I said just "Sepultura" maybe there'd be a problem. Have a critic's view if you don't believe mine. Sepultura [...] hired Ross Robinson, fresh off of producing Korn and the Phunk Junkeez (I’m not making that up) and just months away from helming Limp Bizkit’s execrable Three Dollar Bill, Y’all, and they made a nu-metal album, complete with guest appearances by Jonathan Davis, David Silveria, and DJ Lethal (and, to my dismay, one of the unwitting godfathers of nu-metal, Mike Patton). http://www.metalsucks.net/2013/08/14/noisey-vs-metalsucks-sepulturas-roots-belongs-in-the-ground/ Fun fact: searching for the term "nu-metal" in this page of user reviews brings up 26 results: http://www.metal-archives.com/reviews/Sepultura/Roots/276/ It's just that the music Sepultura play on here is mostly awful nu-metal. No, instead this album has been a major force in the faux metal genre that is nu-metal. It's such a bad combination of the worst nu-metal posturing and least appealing type of metal aggression. Even by the standards of a nu-metal / rock album, Roots is an embarrassment. Roots is clearly one of the best alternative/nu-metal albums. It was itself heavily influenced by newer sounds such as Korn’s mallcore creation, Faith No More’s experimental material, as well as the slowly emerging rap/rock scene known today as nu-metal, underscored by the fact that central figures in all 3 scenes provided guest work on here. 3. Did not put the words djent and genre side-by-side. In fact, refer to previous post.

It's their fault for recording Hageshisato then deciding only a few months later they wanted Korn bass and deathcore guitar tone. But they really should've just left the song off the album altogether. (And they probably will have to redo Rinkaku if they've changed their equipment AGAIN, which is the point -- not even sure Toshiya is using the same bass sound on StU because it hardly clicks and sounds more like a standard slap-bass which may be indicative of tighter strings...)

Please highlight the sentence in which I refer to djent as a genre and not just as a name for a sound (also sorry if you think both mean the same thing). Or for that matter where I call Girugamesh djent. I think so. I can't say I really enjoy early SOAD compared to their later stuff when they had some extra money behind their production.

There's so much wrong with that sentence and this is coming from a nu metal fan. Aside from the fact the name nu metal is a misnomer and the bands who play the music style are really playing hip hop with distortion pedals or maybe some brand of detuned grunge, unless they're Slipknot in which case they have much in common with NWOAHM (and if you really, really believe KEEP ROLLIN' ROLLIN' ROLLIN' ROLLIN' is remotely metal, I feel sorry for you), Girugamesh's MUSIC has some of the most nu metally elements I've ever seen in Visual Kei (if you can even call them that after the first album) -- especially Volcano, which borrows a riff from a SOAD song. Let's get some things straight. If you sound like Korn, early Linkin Park, middle-era Sepultura, Linkin Park, Limp Bizkit, Linkin Park or Linkin Park, you're playing nu metal. Second of all, nothing about nu metal is technically impressive aside from the massive MTV following it picked up (and maybe a few musicians who managed to carry the entire band with their skill like John Otto back in the day). And again this is coming from someone who knows all the lyrics to most of the songs on Hard to Swallow. Nu metal was a term invented by the media to describe an aesthetic that popped up involving gothic and hip hop fashion mixed with metal instruments (specifically Coal Chamber) and lots of teenaged angst and I don't think many "nu metal pioneers" consider themselves "nu metal". They usually just say hard rock. Maybe it should have been nu rock but I doubt it has as much media appeal as rock never was in danger, while metal was losing momentum at the time. Third of all, detuned riffs and screaming DOES NOT equal nu metal, and neither does rapping. Run DMC's Walk This Way thing might have rapping and rock mixed together but that doesn't make it nu metal. Emmure is not nu metal, regardless of what their singer claims to take influence from. In Flames is not nu metal. King 810 is not nu metal (I don't want think of them as anything tbh). What Girugamesh is playing now (and what they originally played) is not nu metal. And above all else DJENT IS NOT NU METAL EITHER and that goes for all deep syncopated riffs running unusual time signatures you'd normally have people associating with it. Fourth, screamo is a genre, not a singing style. What you're referring to as screamo is termed "harsh vocals". Girugamesh play a mixture of what's popular now. As a result, they're mixing post-hardcore, Japanese pop, dubstep (which is understandable, since they've dabbled in drum-and-bass in the past), and the aforementioned syncopated chugging. They include nearly all the staple elements of post-hardcore -- clean catchy choruses and minimalist chug breakdowns with underlying electronics. Sometimes they come up with some things that are interesting. I'm not sure whether this EP does consistently. Is it up to their current quality? I guess so. Do I like it? Not much. Linkin Park.

inb4 Rinkaku's horrifically damaged like Hageshisato and Obscure were. I'd rather have them leave songs off the album if they're going to be changing their sound enough to warrant re-recordings because certain things do not sound good when converted. At least I have justification for buying that obscenely-priced copy of the Unraveling in stores here since none of the material will be available in physical print anywhere else.

Don't really get how this sounds like MUSIC considering that album was predominantly nu metal and this is flat out metalcore but okay. And I particularly like how they ditched the dubstep already, the only bit I really liked about the last five years. Here's hoping there's songs on the album that are completely UNlike this.

"indie CD stores" So this one will be very difficult to get a hold of, too, will it? :\