relentless

Went to japan-discoveries and this is the list i compiled in 3 minutes: Aoi ESP Signature guitar model http://japan-discoveries.com/index.php?main_page=product_music_info&products_id=2090 Kaoru Edwards Signature model http://japan-discoveries.com/index.php?main_page=product_music_info&products_id=49 Kaoru ESP Viper 7 string Signature Model http://japan-discoveries.com/index.php?main_page=product_music_info&products_id=4630 Leda (Deluhi) ESP Horizon Signature Model http://japan-discoveries.com/index.php?main_page=product_music_info&products_id=1290 Yen Total: 1,432,000JPY USD TOTAL: $14,367.40 If only...

To be fair, and no offense at all; but I'm not entirely sure if anyone looking to be in a band would want to be the back up to you and a friend, and be tasked with writing all of the material. If I were to be doing something like that, I would expect heavy prominence in the band and not a "backup".

The poor English (and by poor, I mean dreadfully poor) almost ruins it; but there is a clear contrast between the singles on their S/T, Deicida of Silence, and this. I am now more interested in what they're putting out.

Just because an album sucked, doesn't make it entirely comprised of "LEFT OVERS". What weight does that even hold? Are "LEFT OVERS" a means of trying to say that the band is just doing the same old same old? Or that it's somehow inferior because it wasn't chosen for the previous album? If it's that they're doing the same old same old, I highly disagree because at least Deicida of Silence had the benefit of being SOMEWHAT better than their S/T because of a natural progression in songwriting and performance all around. The screams got BETTER (even if they weren't good), and the riffs became more impressive. There was a clear change even if it was in minimal aspects such as songwriting and technique. If it's that the release is considered inferior because MAYBE (not known) some tracks didn't make the cut on their S/T, I reject that premise as well by bringing up the Beatles who comprised albums of material that didn't make it on previous releases, and those are hailed as MASTERPIECES. LEFT OVERS is another term LIBERALLY used on this site to denote a lack of quality; but neither are mutually exclusive to each other.

Illegally downloading music has no impact on a band. Though the Japanese scene may be somewhat different (with VK being small scale), a band sees their profits at live shows and merchandise sales, not album sales. Though contracts may offer incentives for pushing an extra amount of units, bands are largely held on contract to produce a certain amount of material for X amount of money. I can understand why people are hesitant to support illegal downloading; but with its impact practically non existent there's no reason not to (other than the legality of the situation). Personally, I save my money for bands that I find to be WORTH dishing the money out for. If I like an album, I will purchase it in the format I see fit (digital, CD, Vinyl); but if I don't like the album...why waste money on something I was never intending on buying in the first place? Just as with any investor, we want to make sure our money is going to the right place. In the case of Japanese music especially, imported discs can run up to $90. That's over $75 more than what the CD SHOULD be going for. No wonder why people are going to "pirate" the music -- it's not economically feasible to be dropping near $100 on a CD. That's practically ROBBERY. The worst part, is that it's the RECORD LABELS that are making record profits, not the bands. So why should I support a label when that money is not going to the band? Case in point: Though not music, the Game of Thrones TV show has FLOURISHED because of piracy, and viewers have more impact on the show than sales of albums to a band. I can understand why people are passionate to be AGAINST downloading music; but the reasoning is always wrong. People who take this stance have the enchanted belief that artists get ALL of the money for what they sell. That's a joke.

On my second listen: The end of the DEADLY CIRCUS preview sounds awesome. I'm far more excited for this than I was. I have enjoyed 12012's progression. Not that it's been good (it hasn't); but it seems like they're starting to figure it out. We'll see what the full release brings.

The hate does not come from the music sounding identical (aside from select cases); but it's the fact that Mao has drawn soo many influences from Kyo that it's hard for someone not to notice it. People go wayy too overboard with the comparisons (calling Sadie a Copy and Paste band, etc.); but it's not coming out of nowhere. From technique (sudden switch to gutturals and attempts at "inward screams") to the report propagated on this very site (long time ago) that Kyo had a hand in Mao's vocal lessons. It's less the music and more based on the influence Kyo has had on Mao. I will agree wholeheartedly that it's getting annoying because people bring it up as a way to DISCREDIT the band. Regardless of how GOOD this album will be, I'm excited nonetheless because Sadie is a band that intrigues me even if I gravely dislike most of their discography.

Top 10 the GazettE songs (in no order) Saraba Wakaremichi Bath Room Cassis Baretta Dim Scene 13STAIRS[-]1 Ogre Uncertain Sense (their last GREAT song) Leech

This. Screaming well is one thing, screeching and wailing is something completely different.

Agreed. Big band contracts usually come with an agreement that they release a certain amount of albums before the contract is up (3 is the magic number), and if Beautiful Deformity does reportedly as bad as Toxic and Divsion (though I haven't seen OVERALL sales figures, only initial sales which say absolutely nothing), the GazettE could very well be dropped, or work a deal to do a last album with a set of greatest hits comps. It's sad to say; but I can see that happening in the near future.

The problem with this kind of Visual Kei is that the music is usually Hard Rock dressed up as Metal. There's a "heavy" intro which doubles as the chorus (and in the case of INVINCIBLE, the breakdown), which then goes into a sped up tempo until it slows it back down for an atmospheric verse ("soft"). Lynch and every other VK band that tries really hard to be brutal has suffered from this. It turns the music into something formulaic and imitation. That is ultimately what the "EXODUS EP" (notice not a 'mini album' anymore) suffers from. A desire to touch on extreme metal without ever fully committing because they need to keep the catchy pop hooks in. It could be argued that this is a style all in its own; but that would only ring true if lynch was the only one to do this. Dir en grey, GazettE, Nega, Sadie, lynch, and Deathgaze (all from the top of my head) do this. It may be a style; but it's one that's formulaic and what WE ALL have seen and heard countless times on this forum. Lynch has stuck to the same formula, even when they're now using 7 string guitars. This is not to say that this was a terrible release in every facet of its presentation. When the 7 string chugging stops, you have a far more enjoyable experience because the open palm-muted chugging (which, by the way, is the chorus in two songs which I remember distinctly: EXODUS and INVINCIBLE -- both featuring eerily similar rhythms) gets tiring when that's ALL they're doing. Dressing your music up with a "heavier sound" does not = growth. They need to realize this. 3/10

Forgive me if I am mistaken, is that an ESP / LTD? And if so what model??? Also cool cover! I see what you mean with the higher string gauge, it almost seems like it feels more choppy and doesn't have that groove to it that can come easily with lower gauge strings.

It seems like we're in agreement for the most part: The album had nothing that really grabbed me. The guitar hooks were boring (and by boring, I literally mean something a 12 year old could easily come up with), they stagnated in the same tempo (except for Forbidden Beaver; but in that case they sacrifice anything different for the usual GazettE chorus where they speed it up for a few measures), female vocals where there clearly didn't need to be any, the same lyrics by Ruki singing about the same topics he ALWAYS does: sex and love lost, and the same song structure with similarly placed solos. This is the definition of mediocre; but most importantly it seems like my greatest fears have been realized: They sacrificed their originality to draw back into an older sound. They're doing nothing different. They're sticking to safe songwriting with nothing to show for it. 5/10

Opeth and Ocean Ocean are from Germany -- they're usually an instrumental band; but their latest record (and their best) has two versions: one with vocals and the other without so there's something there for everyone. I prefer the instrumental version because that's how it is intended to be listened to; but if you can't stand that luckily there's vocals as well -- and they're not all screams. http://youtu.be/Nx7u6ZSxeI8

It's DIFFERENT. It stands out above their typical grim dark releases into something that just might provoke some level of thought.

Hello everyone, For the past 9 years I've been playing guitar; but it's been fairly recently that I have begun formal lessons in theory. I wanted to know if anyone else is currently, or has in the past taken theory and what you're currently learning. For this topic, I'm aiming to have a place where we can all talk theory and whenever someone (say, myself or anyone else) needs elaboration, this could be the place to do it! Talking lessons, warming up techniques, favorite scales and modes, ANYTHING theory related, let's discuss! What I've been going through so far is mostly related to major scales. I've learned the 5 fingerings of the major scale, relative minors, the circle of 5ths, and am currently jumping into harmonic minors. It's fascinating because I've probably learned more in the past 2 months than I have the entire time playing guitar.

The guitar instrumentation could not get any more typical. It's so bad... At least they're now at that point where Ruki no longer feels the need to growl over every chugging riff.

Maximum The Hormone are enjoyable; but their gimmick ultimately takes away from the music on display. Instead of writing a straight forward album showcasing their songwriting skills (which is prevalent on the album), they went for another tongue-in-cheek style release that shows that they have a distinct sense of humor more than anything. With several songs leading into pop melodies or opening with them, we're given an album where the only inherent value is to laugh about its presentation more than revel in its greatness. There's some good songwriting on here; but it's the same old nu-metal sound they have been pushing with breaks of punk-esque aggression. It's cool; but it's more "unique" than anything else. Maximum The Hormone has released another album which shows they're different, and that's all they have to show for it. 4/10

They're using 7 string guitars now? Imagine that.

Whoa, easy there. When asked to elaborate a point, don't start getting defensive -- reiterate the point. Though it depends on the degree, I'm sure that bands will incorporate references to other songs however blatant or subtle. Ronnie James Dio would do it, Queens of the Stone Age do it, the Beatles did it -- it doesn't mean that there's any less ingenuity when it comes to the songwriting; but if you really dislike a band, I'm sure it looks that way. This kind of reminds me of how some vocalists will just ALWAYS have to incorporate the same phrase in their songs. For example: it's hard to go through a Dir en grey song without hearing Kyo wail "sayonara". He just always says it. Probably not intentional. And probably a product of lacking anything else to say; but he does it nonetheless. If the GazettE are intentionally making references to other tracks, through imagery or style, then it will be very cool to see how serious they are about drawing from their older material.

I don't remember a band that's so into themselves that they feel the need to release a DVD for every small thing that happens, that they deem a triumph. Kyo had a little fever? Let's make a DVD about it.

Not bad. It's definitely a further departure into heavier electronica territory; but at least they do it well. I wonder if the new album will be more like Eclipse, or We Are The Future (by the way, A+ on the band riding around in a Ford Mustang)

Some of the shows are also 18+. I wonder if Diru fans will complain enough to get it moved to all ages like last US tour. Though personally, I'd like to be able to enjoy a few drinks without kids and their parents escorting them everywhere.

Posted today, here are the dates: Source: http://direngrey.co.jp/english/e-tour/overseas.html

Damnit, Janet - Rocky Horror Picture Show Soundtrack Valse: Allegro moderato (Symphony No. 5 - 3rd Movement) - Pyotr Chaikovsky Rasetsukoku (new ver.) - Dir en grey Marche au supplice (Symphonie Fantastique - 4th Movement) - Hector Berlioz Scherzo. Allegro (Symphony No. 2 - 4th Movement) - Ludwig Van Beethoven Visionquest - Valient Thorr Bandoliers - Them Crooked Vultures Presto Agitato (Piano Sonata No. 14 in C# Major - 3rd Movement) - Ludwig Van Beethoven Orchid - Black Sabbath Allegro con spirito (Symphony No. 2 - 4th Movement) - Johannes Brahms