shizukasou

A root being shown up in the cover is sort of a legit connection to album's title (transl. "Origins") tbqh
 
/cpt. obvious

I'm totally not sure how that helps any cause at all :'D  Does that mean that people who grow beards normally are like 24/7 cancer fighters? They can take my liberty, but they'll never take my enjoyment when I'm rolling around under the bed sheets with freshly epilated legs ;w;

I'm Staci and ender-ender convinced me to join. I was on here forever ago but bailed and forgot my old un. 

I'm a wannabe professional photographer getting ready to go back to school to finish a Japanese associate degree(that I started working on in 2007 oops) with the hope to go on for a bachelors and masters in anthropology cause it's just money, right? -silently cries forever- I enjoy anime and manga(ask to know, too many to list). TV shows about warrior princesses, clones, women in prison and WWI era England upperclass. Movies about wizards and dinosaurs are also high up on my list. Books of all kinds. Also enjoy video games with fighters, RPGs and pokémon being my faves. I am a music junkie and listen to just about everything from 1920s big band music to screamy angry metal. I got into the Japanese music scene what feels like eons ago with Ayumi Hamasaki which somehow turned into Dir en grey, Malice Mizer etc etc etc. I will forever be bitter about DELUHI disbanding. For all eternity. It was the worst April Fool's non-joke since a girl told me she got me Spice Girls concert tickets in elementary school.

My list of faves is vast so here's a clip of the Japanese variety:
DELUHI 
NAINE
exist trace
CROSSFAITH (assholes... all of them adorable assholes..)
Kaya/Hora/Schwarz Stein
DANGER GANG
Koda Kumi (non-vk/non-rock don't care try to fight me)
girugamesh
Aural Vampire
LOST ASH
Dir en grey
-OZ-
http://last.fm/user/burstmyemotion

I have a really bad habit of typing too much so if I do please just tell me to shut up. ;;

I previewed this post like 100 times to make sure it wasn't horrible but it's still horrible.

"Across the blow" [track list]
01.different of stain
02.サーカスが連れてゆく(circus ga tsureteyuku)
03.不揃いのカトラリー(fuzoroi no cutlery)
04.from mouth
05.The sad things
06.alone≠

https://www.youtube.com/watch?v=Es_hr4jih_E&feature=youtu.be

砂月(SATSUKI) live-limited album "Squall of Emotions" will be released at his Europe live tour "SATSUKI EU tour 2014 Squall of Emotions" since 2014/11/28 and up to 2014/12/14, which will include his new song and previous released songs
 
[track list]
01.SQUALL
02.Lily-月影に魅せられて-(Lily-tsukikage ni miserarete-)
03.DETERMINATION
04.STRAWBERRY SUMMER
05.Veil of MARIA
06.ROMANCE
07.La Lune
08.INNOCENT
09.Horizon
10.MALICHITE
11.CRYSTAL
12.HEART
13.TWILIGHT

For some reason I would've liked to see Tatsurou singing with Psysalia Psysalis Psyche (dunno why, really)...

DIR EN GREY x AKB48
 
I don't think any more needs to be said about how amazing DEG48 would be.

The ones that have happened that I've liked:
 
Gackt x Hyde
Kaya x Hizaki
Mucc x Daishi Dance
 
Ones I'd Like to See:
Kaya x almost anybody
Kamijo x Sono, maybe.
 
But honestly I'm obsessed with some of the covers I've heard.
Like the Crush! albums were amazing and I loved when they covered disney songs, especially Aoi and Sadie's covers.
I'd love to see more VK artists cover American songs.

After the previews we've been teased with, I was really excited to give this album a listen. Before I make any judgment, here's my thoughts as I listen to it for the first time through.
 
Intro: Calm introduction to ALSDEAD's new world. Sets a nice atmosphere.
IDEA: The energetic, somewhat heavy opening of this song is a bit of an abrupt transition from the intro, but it's nicely reigned in so as not to become just another forgettable rock romp. The chorus is better for it. Also Maki has really toned up the harsh vocals, it's nice to hear them return from his NOCTURNAL BLOODLUST cover, even if just for a brief appearance in one song.
STARLESS: One of the two tracks we've already seen (or rather, heard) from this album. It fits better here than as just a single. An energetic track with a great flow between the verse and chorus.
Twilight: A more electronically driven track. The production is great, and Maki's vocals are strong once again.
HERO: Upbeat rock with that familiar but not intrusive electronic element so prevalent in ALSDEAD's style. Not the most memorable track so far and also a bit of an abrupt ending.
D.9.N: Another one of those 'just what does the name mean?!' songs! This sounds like one that could be a lot of fun live, with the forcefully energetic but not excessively heavy (and again very catchy) chorus carrying it. Maki has definitely refined the husky edge to his clean vocals in recent years.
KILL THE KING: I was super excited to hear the rest of this track after endlessly repeating the PV preview on their YouTube channel, and it didn't disappoint. This for me is the standout track of this album and the pinnacle of the 'IDEA' ALSDEAD are presenting. The chorus and vocals are once again powerful, but here the instruments are playful with some bass licks and a gorgeous, atmospheric solo from Shin. I just can't get enough.
Adrenaline: True to its title, this song keeps the blood flowing and the energy running through the album. I think its placement following the previous two tracks helps, though it's still a strong track in its own right. As it gets into full swing, it becomes quite enjoyable indeed and one of the heavier songs with its fade out riff.
ノスタルジア: Though a completely different song, the intro to this one and its placement in the tracklist remind me of Heaven from their previous album (which is one of my favourite ALSDEAD spins). The electronic motif comes back in the thoughtful chorus to nice effect. Shin also has another nice solo here.
Picture: The other track from this album's sole single. It's a calmer song but the uptempo chorus and consistent instrumental keep the pace to stop it from becoming dull.
Behind The Pride: There's a good balance of guitar and synth in this one. The simple intro riff does a good job of finding the energy from before the calm, though on the whole this does feel like a very standard ALSDEAD song. I hate to make a second comparison, but the end of the chorus really is slightly akin to Heaven.
Worlds End: In contrast to the previous song, this one is definitely led by the prominent guitar. It's a kind of upbeat rock track with the aforementioned guitar keeping the pace and heavier riffs attempting to push the sound in that direction. A third nice solo rears its head (or neck?) here too. The live-style ending does a good job of feeding the impression that the listener is partaking in this album as well.
Gravity: Lighter ballad-style closer. Somewhat uplifting, it does a good job of finishing the album on a positive note.
 
For me, IDEA is a strong contender for visual kei album of the year. If you look at the run time, a lot of the tracks are regrettably short, so the whole album flies by, but this is not necessarily a bad thing. We recently had some glaring examples on Sadie's album GANGSTA of songs outstaying their welcome, but rather than leaving you wanting more of any particular track, IDEA just begs you to listen to it again. And again, and again. I could happily call this the best thing ALSDEAD have done so far.

WRITE-UP:
 
INTRO:
  The latest album by ALSDEAD, featuring the debut of their new drummer NIKKY (ex. GALEYD), and another obligatory change in their overall sound, feel, and direction.   An album that feels much more 'complete' than its contemporaries, with a solid feel and delivery throughout, providing another replay-button-friendly experience to my library.  
THE SOUND:
 
As similar to previous albums as it is different, they have kept the hard edge to their sound, while putting more emphasis on the individual instruments, and made the vocals fit in more as not necessarily leading the track, with melodies that are still strong and memorable, but do not rise above the value put on the guitars, or other instruments.
 
The signature cinematic ALSDEAD synth sound is back, with an even higher quality than ever. They definitely distinguish themselves as having some of the best synth's today, with more tracks that allow you to pleasurably follow the synth all the way through, and simply enjoy the unique tone, melodic value, and refined nature of production surrounding them. To me, the usual sign of having great tone is having notes that sound not as if they are coming from an instrument, and aren't registered by the listener simply as strings being picked, or keys being pressed on a keyboard, and ALSDEAD definitely accomplishes this on IDEA 
 
THE FEEL:
 
The tracks STARLESS and KILL THE KING should give you a starting point of what this album will sound like. It wavers in both directions: Softer with more synths, and harder with more grit and rough guitar. It is atmospheric, yet still comes off as a track-by-track experience, based on emotional expositions, raw emotions put into words that are either carefully articulated in Picture, or rudely shouted in D.9.N. 
 
It's emotional, atmoshperic rock-music storytelling that is delivered not with sap and melodrama, but with attitude.
 
HOW IT STACKS UP TO PREVIOUS ALSDEAD ALBUMS: 
 
If you have been following them, you have probably noticed that each album marks the end of one term in ALSDEAD's sonic history, and begets another. Their debut had an emphasis on heavy emotions, bad mental states, and a wailing, dramatic sound to match this. MODALITY felt like a series of short stories, with more of a straight-forward rock feel. Seperator felt like one long, interconnected story with a deeply atmospheric feel, and dark, sleepy nature to it in between harder songs.
 
IDEA almost feels like it mixes all of these elements together, while adding in some hard rock, some soft ballad elements, and some 90's rock mechanisms.
 
In terms of overall experience and enjoyment, I think after the initial adjustment to your expectations, and the fact that it doesn't sound exactly like older ALSDEAD, it holds up very well as another great entry into their library.
 
 
Track Count: 13
Listens: 20-25
Production Quality: 
Overall Rating: (This rating took some time to think over, as my first impression was of a 4.0, then built up to a 4.5 after about 20 listens, yet if I go with my gut, and realize how every track on this album hits home with me, and how much I am now enjoying it, I have to give it a 5.0)
 
Worth the Purchase?
If you have enjoyed their singles since Seperator, and have been a fan in general for any of their past releases, I highly recommend this. A solid album throughout, that shows no signs of inserted filler. The tracks are all solid, none get left behind in memory, each one brings something to the table, and overall this is a stand-out album that brings a lot to the table.

People were expecting something from Sadie? When and where? Everything I read leading up to GANGSTA was about how silly the name was and how bad the album was going to be. People were calling their reactions before the album was even released, and the reviews are a reflection of that belief. Is it right that people judged the book by it's cover? No. But it's not as if GANGSTA is helping the situation any when even the people that are defending the album won't go higher than 5/10 or 6/10.
I actually like Sadie and listen to a lot of material between Crimson Tear to Master of Romance often. I didn't want to give GANGSTA a bad review because hating Sadie gets me likes and makes my readers laugh. I wanted to be the one to go out on a limb and say Hey, this album is actually really good! But it's not.

I'm not much of a gamer at all. I just own a Nintendo 3DS to play Pokémon and some random other stuff. Marked "Nintendo DS" too because I also have one to play older games with.

Artist: 12012 Mini: XII Score: After years of uncertainty, 12012 finally leave their fans a release that shines with confidence.
12012 have been struggling to find their sound for quite some time now. Throughout the years they have had a number of stylistic changes, jumping between gothic hard rock tunes and gentle pop melodies before settling on dark chugfests. It’s ‘Deicida of Silence’ and ‘The Swan’ which grabbed my attention, with new guitarist Saitou embellishing the band’s sound with the technical skill missing from their lacklustre self-titled album. With the announcement of their final EP before an indefinite hiatus, I was expecting 12012 to leave with the same deafening roar they displayed with their latter EPs. On the contrary, ’XII’ signals another sonic change for the band. Rather than creating more confusion for fans, 12012 seem to have found their identity.

What hits you about ‘vicious of absolution’ is how calm it sounds in comparison to ‘The Swan’. The downtuned riffs and thunderous drums have been given less precedence, instead running in tandem with audible basslines and gentle piano tones. Although lacking in sheer volume, the opening track is a brilliant showcase of Wataru’s vocal skill. The poor engrish and harsh vocals that hampered previous releases are gone, leaving us with a strong and emotive voice which has been missing since ‘Seven’. Although a quiet track, the intricate bassline, tinkling piano, and complex drumming in the background perfectly complement Wataru’s voice, creating a dark and despondent atmosphere fitting for the band’s potential final release. Devoid of chugging, screaming, or deafening blast beats, the song sets the tone for the majority of the EP.

‘story of a different dimension’ leads into more familiar territory, sounding like an experiment between ‘Diamond’ and ‘The Swan’; catchy and instrumentally balanced, yet dark and with a killer riff you’ll be humming for days. Again, Wataru’s vocals are impressive here, perfectly matching the energy of the song without going overboard. The chorus in particular highlights this, as well as the foregrounding of the bass guitar on ‘XII’, which allows the whole EP to sound more atmospheric than previous efforts. Saitou’s guitar work is also given a larger role in this song, infusing it with some much needed energy after the previous solemn affair. Due to its catchiness, infectious rhythm section, and frenetic opening riff, this is easily the strongest song on the EP and one which best shows the band’s newfound confidence.

This leads into ‘the red’, which is reminiscent of 12012’s latter EP. The sludgy guitar is back along with the guttural growling and desperate shrieking. Although out of place compared to the rest of the EP, the song is a perfect fusion of their pop and death metal sounds, with clean vocals and melodic instrumentation placed in parallel next to their binary opposites. Although the weakest song on ‘XII’, it displays a successful amalgamation of 12012’s previous sounds. Although this fusion is explored in every track on the EP to some degree, it’s this song which makes it the most apparent due to the ever-changing musical atmosphere.

In sharp contrast to this, ‘alone’ is taken straight out of 12012’s poppier back catalogue, making it a less challenging track. From the guitar tones to Wataru’s softer crooning, the song could have easily been slotted into ‘Mar Maroon’. Initially I couldn’t bear it; the mildness of the track detracting so much from what I was now used to from the band. However, repeat listens revealed the track to be one of the most musically balanced, with each member being easily audible. Due to this, the song is fuller than ‘the red’ in terms of its sound and allows each member to stand out in their own way. Not only does this make the song pleasant to listen to, but it also helps to convey the sound of ‘XII’ through its rich instrumentation. Complemented by basic guitar chords and beautiful piano, this song shows how 12012 can write a good pop song without deviating from the gloomy theme of the EP.

This skillful mix of genres is also apparent with the EP’s closer, ‘aqua’. The longest track on ‘XII’, this song starts with a simple electronic backing tune and piano. Once again, Wataru’s vocals take centre-stage here alongside a sombre bassline. It takes a while for the song to gain pace but as soon as the drums kick in, ‘aqua’ is given real weight. Matched perfectly by the louder, more insistent vocals, a true sense of closure is given to the EP. Wataru’s plaintive cries also convey the sadness behind the band’s hiatus which makes the song much more emotive. Sadly, this climax is followed by a clumsy guitar solo which sounds like a collection of odd notes thrown together. Unlike the bass solo preceding it some minutes before, it doesn’t seem to match the key of the song and stands out in the wrong way. The song’s length is also a drawback, weakening the effect of ‘aqua’’s impact through its meandering middle section. In spite of this, ‘aqua’ is an emotional piece and a fine way of ending ‘XII’.

I was disappointed with this EP at first. I hated that the band had changed their sound despite creating something unique with ‘Deicida of Silence’ and ‘The Swan’, flippantly disposing a genre that suited them well. Despite its lack of initial impact, I found myself listening to this EP over and over again, realising each track was as infectious as the last. As a result, ‘XII’ isn’t a step backwards at all, but a display of maturity caused by a fusion of everything that makes the band great. The EP is heavy but in a different way; with nothing used to excess. Every track demonstrates each member’s technical skill with darker, heavier material, but also an awareness of the fans and what they’ve wanted since ‘Seven’ or even ‘Play Dolls’. Due to this, they leave the scene with their most memorable release to date, covering all past soundscapes in a fusion that is a pleasure to listen to. If they ever come back - and I truly hope they do - this is the 12012 I want to listen to. This is 12012 at their finest.

Early 2000s-late 2000s
Most of my favourite visual kei bands released their best stuff in that period of time, and I am pretty sure that 30+ out of 40 favourite visual kei albums was released during these years. Kagra, Merry, early days of Mucc and Gazette and so on. So this was an easy one.
 
 
1980-mid 1990s comes in second for me because of the early isual kei metal bands from this time. X Japan, Rosenfeld, Aion, Gargoyle, Rommel, Mein Kampf and so on.

12012's XII makes me sad. Sad in the way that this is going to be their last release for a long time. This album is near perfection. I can literally describe it as a well done trip down memory lane through their past and present era's. VICIOUS OF ABSOLUTION reminds me a lot of the SEVEN era. I love how even though drop B is the bands main tuning now, they can still make memorable tracks in standard or Drop D. Pretty much everyone of the members shine on this song and they all compliment each other. Oh and the piano just adds that spice to things. Beautiful. STORY OF A DIFFERENT DIMENSION reminds me a lot of something that would be on Play Dolls or Diamonds. The guitars are the highlights of this song, especially the main riff. My reaction face when hearing it : Another great track.
 
THE RED is probably my favorite song on the mini. I've been saying this since the Swan, 12012 seriously has something great going on with the heavier tracks. Its near death metal territory, super creative, and pulls no punches. Just in your face brutality. Id love to see a full album with more tracks like these. BOSS. ALONE didn't interest me at first when I first heard it but it quickly grew on me. If I were to place it in the bands timeline, Id also put it somewhere in their earlier albums. It puts you in the chill mood and I could def see myself waving my arms from left to right singing the chorus. I really enjoy this track and its a nice break from the intensity of the other 2 tracks.
 
AQUA: I listened to this and forgot it was on because it was super subtle. Then I realized it was 9 minutes....why? 
 
This is one of the best releases of 2014. I am sad to see 12012 go after this. They finally capitalized on a sound and now they're going on hiatus. I hope they realize they have something great going and decide to resume activities. If they do disband (God forbid), I wouldn't be mad. This was a valiant effort put in by them
 
9.5/10

Aqua is up on JPopAsia:
 
Romaji:
 
Aishite kudasai, kanishii nukumori
Itsuka no anata ni modotte kudasai

Dakishimeta sono ai wa misemono no ai nano ka
Usure yuku shikai kara kiete yuku, munashisa yo

Aishite kurenai, yashii itsuwari
Aishite kurenai, tsumetai hohoemi

Kowaresou sono ai wa misemono no ai nano ka
Togire yuku ishiki kara anata e no okuri mono

Aishite kudai, kanashii nukumori
Itsuka no anata ni modotte kudasai
 
Kanji:
 
愛してください　悲しいぬくもり
いつかの貴方に戻ってください

抱きしめたその哀は見世物の哀なのか
薄れゆく視界から消えてゆく　虚しさよ

愛してくれない　優しい偽り
愛してくれない　冷たい微笑み

壊れそうなその哀は見世物の哀なのか
途切れゆく意識から貴方への贈り物

愛してください　悲しいぬくもり
いつかの貴方に戻ってください
 
English Translation:
 
Please love me, and let the warmth of sadness
Come back to you someday

That sorrow that I embraced, was that sorrow just for show
It vanished from my fading field of vision, emptiness

Won't you love me, with your gentle lie
Won't you love me, with your cold smile

That breaking sorrow, was that sorrow just for show
A gift to you, from my interrupted consciousness

Please love me, and let the warmth of sadness
Come back to you someday

Artist: Sadie Album: GANGSTA Score:
The musical equivalent of the human centipede, where genres are held hostage and stitched together ass to mouth so shit flows in one end and out the other. Except one of the genres is emaciated, another is dressed in drag, and a third took five too many Xanax and huddles unconscious in the corner. Making heads or tails of what GANGSTA wants to be is fruitless. A convoluted mess of bad ideas, worse ideas, and terrible execution, the best thing about it is how little the name has to do with anything. If you like your clouds with silver lining, it's not the visual kei equivalent of Sasuke Uchiha's mixtape, but the turntable scratching and rapping still rears it's ugly head when Sadie is done violating all the other genres they think they can handle.
 
The beginning of the end of my expectations starts with MODE OF GANGSTA, which kickstarts this thirteen track tour de force of all the ways to not juxtapose genres. Evoking feelings of a coked out futuristic dystopian cyberpunk electro-rave punctuated with gang vocals, it's about as good as DEATHGAZE's Japanese Meliorism. And by that, I mean it's cool for eight measures and then it needs to stop. But by this point, you've already ventured into the ectosphere and are being pulled towards the gravitational singularity that is this album whether you like it or not, and the only question you should have is why.
 
One of the few constants within this album is how any attempts to extinguish the flaming wreckage only makes things worse. Lead single DEAD END's intro may give you hope - as a formulaic Sadie rock number they're in familiar territory - but even here there are signs that things are going to go wrong fast. Not only do I feel like I've heard this song before - probably because I have - but the song feels like a disjointed collage of half-executed ideas that don't play well together. There's some sugar, some spice, a funky guitar line or two, a chorus with complex delivery, token heavy sections, and harsh vocals that feel like an after thought, thrown about to take up eight measures worth of time. There's some good and some bad, but it's the most consistent track on here.
 
Differences in opinion over the first two tracks can be summed up into "at least they're trying!" and "diversity!", so I can't knock this band for having no ideas. But at the end of the day, the inability to execute a vision even with a multitude of ideas is not a matter of opinion. It's a fatal shortcoming that births tracks like WELCOME TO THE UNDERGROUND, which is the most clumsy jazz-kei attempt of the last decade. It also marks the point where the album crosses the event horizon and there's no coming back. They keep up their cabaret pretenses for three minutes before sliding back into their trademark metalcore sound so they don't feel too out of their comfort zone, but the awkward focus on English lyrics and inappropriate guitar tuning betrays the band's intentions. The left-field metalcore section sports harsh vocals poor even by Mao's standards, and the aggression displayed near the end is at odds with the rhythm in the beginning. If they had held consistent, it would have been an amusing LIPHLICH imitation at best. Instead, this is a muddled mess.
 
But it's not just WELCOME TO THE UNDERGROUND that sounds like a spiked cocktail of ill-executed concepts. The second constant of GANGSTA is that Sadie doesn't know what it wants to play. A puree of shit banded together by interludes forms whenever Sadie tries to coax ideas into places they don't fit, and a majority of the album falls into this category. Whenever they stumble onto an idea that might work, they suddenly switch gears before it can get going. It would be more prudent to highlight all the songs that stay the course - wherever that course may be headed - from beginning to end. For that, I give props to Tokyo Gypsy, MESSAGE FROM HERE, and the piano outro PHRASE OF LIFE. I would never say any of these three tracks are "good". Singling one out as the best song is deceptive; it's like comparing a turd to twelve less smelly turds. What we have here are three tracks that didn't elevate my blood pressure, and thus I'll take the road less traveled and talk about the few positive aspects of this album.
 
Tokyo Gypsy is a slower rock song, which in the hands of a different band could have worked a lot better. It's the first song on the album that isn't a total disaster, but the band refuses to let it's hair down and get into the groove. This creates unneeded apprehension in the atmosphere. Nothing about this song screams "Listen to me again!", but the greasy back alley male strip club vibe I get from listening to it gives it a place of distinction in my mind. MESSAGE FROM HERE is a six minute ballad driven by a piano where only the rightmost five keys work. There's a feeling of the piano sitting on top of the music instead of integrating itself to it, and feels at odds with the prominent bass line. It deserves brownie points because it doesn't have a section of asinine songwriting to ruin the flow, but it doesn't captivate me either. It's far too long for what little ideas they're toying with, and could have been four minutes and delivered the same impact. The fact that it follows another ballad and leads into a piano outro means that while the album takes a sonic detour into consistency near the end, it's sinks into obscurity in a sea of similarity.
 
I won't mention much of PHRASE OF LIFE, except it's a nod to Kisou and STACKED RUBBISH - a disjointed album ending on a pleasant note.
 
Once the piano from PHRASE OF LIFE twinkles it's way to an understated ending, my hopes are crushed. I've listened to the entire album but I don't know what the purpose was. How can GANGSTA be justified as the product of hard work and musical creativity, when corners were cut and questionable choices were made at every turn? When the band wants to play metalcore, I'm bombarded with rave synth, embarrassing gang vocals, bars of absolute shit songwriting, demented gerbil sounds that are supposed to pass for harsh vocals all held together with derivative pop hooks so recycled the logo is visible. How can one rectify the disparate influences that pull tracks apart rather than brings them together? Take bleach as a four minute excursion into all the things wrong with this album. There's prominent DJ scratching, more bad gang vocals, random unexplored changes in riffage, and melodic metalcore over a house beat held up by Sadie's favorite musical crutches. None of these things go together either on paper or in practice, but the band insists that they do. I can't find any redeeming qualities in this album, and additional listens of GANGSTA reveal more flaws and no hidden gems. If there are any in the music, it's hidden deeper than it's worth to find them.
 
There's trying, trying too hard, and then having no idea what you're doing anymore. Sadie has always been a straightforward metalcore band. The contention with their sound in the last few years is that they're using the same formula to come up with their tracks and they need a way to distinguish them. Thinking outside the box, gathering all of these ideas, and then leaving them outside the box defeats the purpose of gathering those ideas in the first place! If these ideas can't be used, they should be discarded. Instead, the box is as empty as it was before, the ideas are neglected like a child whose mother doesn't love them, the presentation is messy, and it's left to the listener to puzzle out what the band's true intentions were.
 
I'd rather vomit on tinfoil and eat it than listen to this again.

I think you misspelled "disband DEATHGAZE". Ai IS DEATHGAZE. No Ai, no DEATHGAZE.

I don't know how to feel about this. DEATHGAZE deserves a vacation because they've been going strong for ten years despite all the changes in member lineup. On the other hand, Ai is the reason why this band is still around. Even when things looked hopeless he never gave up faith in the band. Now that they're indefinitely going on hiatus, I don't know what this means for him. I hope his head is in a good place - last time I thought this was going to happen he seemed really depressed.

I hope that the hiatus will be the start of new and better projects for each member, because their latest releases were pretty boring and uninspired IMO.

new band "Develop One's Faculties" will hold their first presents live "gathering place #1" at Ikebukuro EDGE at 2014/12/20
 
"Develop One's Faculties" members:
Vo.&Gt.yuya (ex-Minerva(Vo.)-->Schwein(support Gt.)-->cocklobin(Gt.))
Gt.rui (ex-the Pumpkin Head-->ケミカルピクチャーズ(chemical pictures))
Ba.detto (ex.-Eve--->タイハイノソラ(taihai no sora)-->ネオン(neon)(support)-->Cherry-->江戸川パラドクス(edogawa paradox)(雷覇/raiha))
Dr.Johannes (ex-CROW-->苺69(ichigo69)-->メロウ☆ぴんきぃ(mellow pinky)-->ジャガー(jaguar)(support)-->meth.-->cocklobin(sora))
 
 
their new maxi single "フラスコを振ると天秤揺れた(frasco wo furu to tenbin yureta)" will be released through their official webshop and at their live since 2014/12/20 (2 TYPE, 1,260yen each)
 
[track list]
01.フラスコを振ると天秤揺れた(frasco wo furu to tenbin yureta)
02.ピエロ(pierrot) (included in live-limited edition)
02.結果論(kekkaron) (included in webshop-limited edition)
 

 
http://d-o-f.jp/

@relentless I didn't mean to come off as rude and I wasn't replying to anyone in particular. I do agree with you, it's always a good thing to exchange opinions and knowledge, though, as you noted, discussing music genres usually ends badly. This is a topic for reviewing girugamesh's lastest release, a band that has been known to mix more than one genre in their music and attempting to place it in a certain category is futile.