relentless

In regards to critique, Japanese lyrics get 0 attention, and judging from responses here, that is partially true outside of Japan as well. Lyrics matter just as much as any other instrument in the presentation, and to dismiss them would be to dismiss the music entirely. Lyrical critique (and critique in general) was never really done in Japan; but once you look outside of Japan, lyrics become far more significant in how it shapes a work. Whether it's Rap focusing on flow and the delivery of lines, or Opera which emphasizes the libretto, lyrics hold this huge importance that is a bit different from its focus in Japanese works. For example: The classic Opera (and one that defined the later German Romanticism of Wagner) "Oberon" by Carl Maria von Weber is rarely performed because of its weak libretto (lyrics). Bad Japanese lyrics are rarely critiqued. It's the poor "Engrish" lyrics that get the attention; but even then it's largely about pronunciation and only occasionally delves into content. In Japanese music, lyrics should be a huge focus; but it doesn't seem like it gets the respect it deserves.

I wouldn't say that "Visual Kei" is a specific sound though. Being rooted in its image, it's up to each individual band and scene to determine the sound of their music. Early VK was inspired by Western Glam and shock rock acts like Kiss; but today's bands aren't -- they're drawing influences from elsewhere. One band: Another band: Even when you try to break down the bands in terms of "scene" (Oshare kei, for instance), it's largely based on their LOOK that defines them and not necessarily about a given sound in their music (though, there is correlation). Realistically, we can plug any band in the world into this thread and it will somehow have a similarity (unless it's really bizarre; but you never know). Why is this? Because each band (unless there is deliberate copying from a band like Sadie and 12012 in regards to Dir en grey) is going to have different influences that are going to contribute to how they sound.

That reminds me: using backing tracks for screams is probably just as bad as not being able to scream at all.

Odd, isn't it? Instead of copying glam bands, they're copying the bands that copied the glam bands.

Couldn't agree more. I enjoy screams ("harsh vocals") if they're employed properly, or in the right kind of music for it. There's still immense skill involved in something as "basic" as screams and growls (especially doing so non stop over the course of a two hour setlist: http://www.youtube.com/watch?v=n5WHCxxXYSI); but in VK and VK-related groups, it's more often misused. http://www.youtube.com/watch?v=CD_ecPQ-SgY -- Out of nowhere this band begins using death growls, and it shows. Also refer to Sadie's high screams and growls -- though at least Mao is slightly better than Wataru. These bands could be better at what they did, if they put more effort into what they were doing. Growls are difficult, and if you're not going to put the effort out (see: Ruki from the GazettE), then there's no point in misusing them.

Japanese bands use English song titles everywhere, and it's not exclusive to Dir en grey. Also, it's pretty far-fetched to assume that Dir en grey only print lyrics in English, in their CD booklets, because they fear people won't listen to their music otherwise. It's certainly in there for your average consumer to read and understand (which practically every band in the world does); but that's where it ends. Why would a band who doesn't care about how people interpret their lyrics, suddenly care about how their lyrics are read? The band has mentioned record label influence to sing in English in the past; but they openly stated it's something they didn't want to do, so they stopped doing it. You'd think that if there WAS a demand for English lyrics (and a necessity which is assumed), it would be in their lyrics in their songs, not inside of booklets of CDs.

North By Northwest

There's many that believe he's fluent. Other members have shown good English skills (Die), so it wouldn't be surprising if Kyo was as well.

3:47 and on would be considered the climax. The song enters and develops as fragments, and it's at this point where everything comes together. It's not bombastic. Through subtlety the music rises and comes to a close; but it's very "mellow".

Not bad. I'm starting to enjoy this a bit more.

How so? EDIT: And it seems like the ones happier about this Kyo project are the other band members themselves.

Very interesting. The music has its own charm, though I would love to hear the rest of the songs and in better quality. The real question: Is this project going to last one or two releases, or is it going to be long term like what Corey Taylor and Maynard James Keenan have been doing?

There are some very silly comparisons going on in here. I wouldn't go as far as to imply that this is somehow a bunch of different Dir en grey songs rolled into one (a 20 second sample does not give you that good of an impression to make that judgement); but I will say that it doesn't interest me much. I'm sure they're going to do their thing and it'll be fine; but as per everything we've heard as of late, this song isn't that much different in sound -- Kaoru and Die strum some chords in the chorus, to which Kyo does some vocal melody over -- wash, rinse, and repeat.

On the discussion of lead and rhythm guitars: Handling both sections CAN be tricky. You don't want the lead to not be prominent enough; but you also don't want it to be too excessive. You can make it sound different; but try to follow the same chord tones that the rhythm is playing so you can have harmony. Example: If the rhythm section is playing a C major chord (C, E, G) in the key of G, and the lead is outlining an F# diminished chord in its progression, it's not going to sound too good (though, I guarantee there would be ways to make it work). Instead, whatever the lead is playing, it would be best to always go back to the notes C, E, and G.

Usually, vocalists prefer to stay within their range. Kyo for some reason insists on doing whatever he feels like is necessary for a song, even when the end result is him not being able to reproduce those sounds live. Of all the bands I've followed, Dir en grey is one of the only in which there is a clear difficulty for the band to perform some of their songs (during early DSS tours they would constantly screw up in the same parts in the Different Sense solo). Their songs aren't even that difficult to perform in the first place; but their newer material is in a way technically more demanding. (Which also reminds me, they would alter Garden to make it easier to play)

To be fair, Different Sense had more going for it even in the basic layout and design of the single. This? This is just weird.

I've felt this way for a long time. The hair, the guitar (the Viper is just an offset SG), the crucifix (and in some cases the clothing choice) just screams "Tony Iommi".

This is the first time since FVT where they did a festival tour, right?

@Perez: There aren't "lower keys". I believe what you were thinking was "lower tuning".

Are you referencing Japanese girls? Because from what I'm hearing they've been going to practically every show, most of them VIP if I'm not mistaken.

Digital Veil was one of those releases that made me change my entire outlook on what "core" influenced bands can achieve.

No, a few friends of mine went to the show and told me about it afterwards.

Kyo did not wear his Ghoul make-up in Boston.

Kyo without his box? That is a very cool, yet surprising change.

My favorite track on the album was easily Aura. The rest was eh.