ghost

I'm nostalgically attached to NIL, but my taste appreciates DIM more. But both albums have their pros and cons, and are still strong releases in the band's discography.
 
NIL feels a bit more organic overall since it's not constrained to a specific aesthetic like DIM - basically, there's more variety. DIM on the hand seems to have a clear-cut vision (from the highly stylized PVs, to the artwork, to the incessant use of SE tracks in an attempt to guide you through that vision), and as such, the songs on the album don't step too far out of line from that vision. They managed to achieve an amazing sense of cohesion with DIM - almost as if the album tells a story. Personally, I think that ambiguous, yet palpable "story" of DIM is what draws listeners to this album over NIL - which I think was also a good effort, but feels more just like "another VK album", ya know?
 
That's not to say NIL isn't worthwhile. With the atmosphere of DIM being so thick, it's easy for that album to feel oppressive, while NIL has a kind of levity permeating throughout it. Another thing I enjoy about NIL is the fact that there are more solos and much more going on guitar-wise, while DIM is riddled with breakdowns and mirrored-chugging (which gets old fast especially when there are 2 guitarists). The guys of gazette may not be super-technical guitar/drum-gods, but they can rock out with their instruments when they want to and I would have liked to hear more of that in DIM. In that sense, many of the songs on DIM felt a bit sterile. Tracks like "13STAIRS[-]1" and "Nakigahara" - while great, presented a slew of musical opportunities for the gazette that they failed to capitalize on. "Nakigahara" was begging for a solo or some sort of instrumental fuckery, but instead drug on for like 3 minutes too long. "13STAIRS[-]1" was something new and fresh for the gazette, and still stands out in their discography today, so they really could have experimented a bit more if they wanted to. And the gazette doesn't have to get all progressive or anything - even if one song on DIM had an instrumental section on it like NIL's "baretta", I would have been more satisfied!
 
But with everything said, I still prefer DIM overall. Despite it's flaws, the album and everything surrounding it were curated so fantastically, and that's not always an easy feat achieve - in vk or anywhere else.

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.

Oh lord.
 
PS4, PS3, PS2, PS1, PSX, Xbox 360, Xbox, Wii, Gamecube, Nitendo 64, SNES, NES, Dreamcast, Saturn, SEGA CD, Genesis, Sega Master System, 3DS, DS, Gameboy Advance, Gameboy Color, Gameboy, Playstation Vita, PSP, Sega Nomad, Sega Gamegear, Atari, and The Odyssey.
 
I think that's it.  All of them in my living room available to hook up.

Took a Retrica pic with my lil' sis >w<
She says hiiii ( ^-^ )/
Sorry for low res >_>"

I need big glasses to obscure my tiny Asian eyes.
This is part of my "Prospect" series (2 of 2).
 

"Up prospect"

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 bought a Keroro's kigurumi. It's awesome. Now I'm gonna buy a Rilakkuma' duvet cover from Rakuten. It's so cute

I need big glasses to obscure my tiny Asian eyes.
This is part of my "Prospect" series (2 of 2).
 

"Up prospect"

I need big glasses to obscure my tiny Asian eyes.
This is part of my "Prospect" series (2 of 2).
 

"Up prospect"

Bead, you're making my October the best I've ever had yet.

My minion jacked my selfie lol
 

12012 - XII  

 

 
12012 have been rolling with a new style since one of their guitarists left them before the release of their self-titled. 
Overall, it's been a hit-and-miss with every new record since then, but the thing that remained constant in this transformation is that their music, regardless of whether or not it was bad or good, featured some very memorable content. I'm not too familiar with 12012's earlier years or even their mar maroon & Seven eras, but I will say that, within the context of these newer albums, I believe XI to be their best release yet. I will start out by saying that this album does not feature 12012's current heavy style (minus red).
 
The album starts with vicious of absolution, which begins with an intro reminiscent of their last album The Swan. It quickly picks up into a slick guitar line and Wataru later joins in with a smooth and flowing melody. This pattern continues throughout the song until its short yet efficient ending. If I were to describe the track in two words it would be simple and eloquent.
 
story of a different dimension kicks things up a notch with heavier fast paced drums and features some tight and distorted guitar playing. Even with this upbeat change, the song features a melancholy string solo and, almost, Gothic choir sequence. The best thing about the track though is definitely the guitars: They're charismatic and also played in a variety of styles keeping things interesting.
 
The album finally gets more into the band's recent hardcore sound with the red. It's what you'd expect from a recent 12012 heavy song except that it's much cleaner in execution and Wataru's screams are done much better without delving into ridiculous loud shouting and vomit noise territory. There's even a short acoustic Spanish guitar break that's oh so sweet. It does begin to feel too long near the end with the song being just 3 seconds shy of 6 minutes. A lot of this, I feel, is contributed from a weak second melodic chorus. It gets especially sigh inducing the second time around when it transitions/becomes the climax of the song but just kinda stays the same. Still, this can be forgiven because of the catchy main guitar riff.
 
alone is a sweet upbeat ballad that's somewhat of a throwback to their mar maroon/Seven era (at least in terms of the more poppy nature of the song). I find the bridge and chorus to be one of the more catchy melodic lines they've thrown at us in a while and just can't get enough of it. One thing I never really noticed in other songs but did in this one is the deep and rich tone of Wataru's voice. I usually don't notice this because he sings so high but alone really makes his voice shine.
 
We now come to the final and longest song on the album, aqua. The first thing I'll say is that it's way too long. This song did not need to be over 9 minutes. Basically, it's the main chorus repeated again and again. The chorus is sung softly at first until the climax when everything is played at full force and then slowly fades out. I don't like the way the song fades out on this part because nothing is really happening in the music; it makes for a weak and unmemorable ending.
Couple of suggestions:
-If the song went into the climax after the piano break, I think it would've been much more tolerable.
-Take out the bass solo (too flat and adds too much time)
-Place the guitar solo at the end of the song to create a much more interesting fade out and keep the listener engaged.  
I think its fine as the closer to the album, but these few qualities really take away from the impact the track could have had.
 
The songs individually are fairly strong, but I don't feel like that's where the strength of the album lies. Rather, I remember XII as a whole. I find it to be a fairly solid album from the start to finish having a smooth flow between songs, a uniform sound despite all songs being written by different members, and overall strong compositions. This is something their last few mini-albums lacked. 
 
Yes, the album doesn't have that recent hardcore and intense 12012 sound, but I'll trade a softer more refined album for a messy execution of a style that doesn't really match with them. I feel like this is a stable balance between their heavy and poppy sides. The album is brighter than Decida of Silence and The Swan but still retains a serious dark tone. I'm glad they're going on hiatus so they can take a break and perhaps think about what direction to go next, but I definitely don't want them to disband. I hope that they'll return with a fresh new release that continues to build on this style. 
 

 
[Kudos if you can guess where the skeleton image is from]

12012 - XII  

 

 
12012 have been rolling with a new style since one of their guitarists left them before the release of their self-titled. 
Overall, it's been a hit-and-miss with every new record since then, but the thing that remained constant in this transformation is that their music, regardless of whether or not it was bad or good, featured some very memorable content. I'm not too familiar with 12012's earlier years or even their mar maroon & Seven eras, but I will say that, within the context of these newer albums, I believe XI to be their best release yet. I will start out by saying that this album does not feature 12012's current heavy style (minus red).
 
The album starts with vicious of absolution, which begins with an intro reminiscent of their last album The Swan. It quickly picks up into a slick guitar line and Wataru later joins in with a smooth and flowing melody. This pattern continues throughout the song until its short yet efficient ending. If I were to describe the track in two words it would be simple and eloquent.
 
story of a different dimension kicks things up a notch with heavier fast paced drums and features some tight and distorted guitar playing. Even with this upbeat change, the song features a melancholy string solo and, almost, Gothic choir sequence. The best thing about the track though is definitely the guitars: They're charismatic and also played in a variety of styles keeping things interesting.
 
The album finally gets more into the band's recent hardcore sound with the red. It's what you'd expect from a recent 12012 heavy song except that it's much cleaner in execution and Wataru's screams are done much better without delving into ridiculous loud shouting and vomit noise territory. There's even a short acoustic Spanish guitar break that's oh so sweet. It does begin to feel too long near the end with the song being just 3 seconds shy of 6 minutes. A lot of this, I feel, is contributed from a weak second melodic chorus. It gets especially sigh inducing the second time around when it transitions/becomes the climax of the song but just kinda stays the same. Still, this can be forgiven because of the catchy main guitar riff.
 
alone is a sweet upbeat ballad that's somewhat of a throwback to their mar maroon/Seven era (at least in terms of the more poppy nature of the song). I find the bridge and chorus to be one of the more catchy melodic lines they've thrown at us in a while and just can't get enough of it. One thing I never really noticed in other songs but did in this one is the deep and rich tone of Wataru's voice. I usually don't notice this because he sings so high but alone really makes his voice shine.
 
We now come to the final and longest song on the album, aqua. The first thing I'll say is that it's way too long. This song did not need to be over 9 minutes. Basically, it's the main chorus repeated again and again. The chorus is sung softly at first until the climax when everything is played at full force and then slowly fades out. I don't like the way the song fades out on this part because nothing is really happening in the music; it makes for a weak and unmemorable ending.
Couple of suggestions:
-If the song went into the climax after the piano break, I think it would've been much more tolerable.
-Take out the bass solo (too flat and adds too much time)
-Place the guitar solo at the end of the song to create a much more interesting fade out and keep the listener engaged.  
I think its fine as the closer to the album, but these few qualities really take away from the impact the track could have had.
 
The songs individually are fairly strong, but I don't feel like that's where the strength of the album lies. Rather, I remember XII as a whole. I find it to be a fairly solid album from the start to finish having a smooth flow between songs, a uniform sound despite all songs being written by different members, and overall strong compositions. This is something their last few mini-albums lacked. 
 
Yes, the album doesn't have that recent hardcore and intense 12012 sound, but I'll trade a softer more refined album for a messy execution of a style that doesn't really match with them. I feel like this is a stable balance between their heavy and poppy sides. The album is brighter than Decida of Silence and The Swan but still retains a serious dark tone. I'm glad they're going on hiatus so they can take a break and perhaps think about what direction to go next, but I definitely don't want them to disband. I hope that they'll return with a fresh new release that continues to build on this style. 
 

 
[Kudos if you can guess where the skeleton image is from]

12012 - XII  

 

 
12012 have been rolling with a new style since one of their guitarists left them before the release of their self-titled. 
Overall, it's been a hit-and-miss with every new record since then, but the thing that remained constant in this transformation is that their music, regardless of whether or not it was bad or good, featured some very memorable content. I'm not too familiar with 12012's earlier years or even their mar maroon & Seven eras, but I will say that, within the context of these newer albums, I believe XI to be their best release yet. I will start out by saying that this album does not feature 12012's current heavy style (minus red).
 
The album starts with vicious of absolution, which begins with an intro reminiscent of their last album The Swan. It quickly picks up into a slick guitar line and Wataru later joins in with a smooth and flowing melody. This pattern continues throughout the song until its short yet efficient ending. If I were to describe the track in two words it would be simple and eloquent.
 
story of a different dimension kicks things up a notch with heavier fast paced drums and features some tight and distorted guitar playing. Even with this upbeat change, the song features a melancholy string solo and, almost, Gothic choir sequence. The best thing about the track though is definitely the guitars: They're charismatic and also played in a variety of styles keeping things interesting.
 
The album finally gets more into the band's recent hardcore sound with the red. It's what you'd expect from a recent 12012 heavy song except that it's much cleaner in execution and Wataru's screams are done much better without delving into ridiculous loud shouting and vomit noise territory. There's even a short acoustic Spanish guitar break that's oh so sweet. It does begin to feel too long near the end with the song being just 3 seconds shy of 6 minutes. A lot of this, I feel, is contributed from a weak second melodic chorus. It gets especially sigh inducing the second time around when it transitions/becomes the climax of the song but just kinda stays the same. Still, this can be forgiven because of the catchy main guitar riff.
 
alone is a sweet upbeat ballad that's somewhat of a throwback to their mar maroon/Seven era (at least in terms of the more poppy nature of the song). I find the bridge and chorus to be one of the more catchy melodic lines they've thrown at us in a while and just can't get enough of it. One thing I never really noticed in other songs but did in this one is the deep and rich tone of Wataru's voice. I usually don't notice this because he sings so high but alone really makes his voice shine.
 
We now come to the final and longest song on the album, aqua. The first thing I'll say is that it's way too long. This song did not need to be over 9 minutes. Basically, it's the main chorus repeated again and again. The chorus is sung softly at first until the climax when everything is played at full force and then slowly fades out. I don't like the way the song fades out on this part because nothing is really happening in the music; it makes for a weak and unmemorable ending.
Couple of suggestions:
-If the song went into the climax after the piano break, I think it would've been much more tolerable.
-Take out the bass solo (too flat and adds too much time)
-Place the guitar solo at the end of the song to create a much more interesting fade out and keep the listener engaged.  
I think its fine as the closer to the album, but these few qualities really take away from the impact the track could have had.
 
The songs individually are fairly strong, but I don't feel like that's where the strength of the album lies. Rather, I remember XII as a whole. I find it to be a fairly solid album from the start to finish having a smooth flow between songs, a uniform sound despite all songs being written by different members, and overall strong compositions. This is something their last few mini-albums lacked. 
 
Yes, the album doesn't have that recent hardcore and intense 12012 sound, but I'll trade a softer more refined album for a messy execution of a style that doesn't really match with them. I feel like this is a stable balance between their heavy and poppy sides. The album is brighter than Decida of Silence and The Swan but still retains a serious dark tone. I'm glad they're going on hiatus so they can take a break and perhaps think about what direction to go next, but I definitely don't want them to disband. I hope that they'll return with a fresh new release that continues to build on this style. 
 

 
[Kudos if you can guess where the skeleton image is from]

At the end of the day, I guess Sadie has potential to write great music; but so does any group in Pop, Rock, or Metal. If the Beatles could go from an average Pop group to songwriting gods in the span of 3 years, then I'm sure Sadie could do the same. The question is: Do they want to? With their music, there is no inherent need to go out and try anything new and to challenge themselves as artists. The only thing that truly seems to factor into how a piece of music will sound, is the level of distortion on their guitars. Other than that, the forms and ideas they are constantly drawing from have all been the same.
 
Sadie could write something like this:
 

 
 
 
but I'm willing to put money down on the fact they never will. They will never sit there and go "hey, let's throw in some dense harmonies", or "hey let's not play in 4/4 for once". Instead they will keep doing what they are doing, in hope that their fans in Japan keep buying it.

I love Sadie, but now I am not sure if they love me back anymore

I think it might be the intro SE that kind of sounds like Megaman.
Check out for yourself though, I found the album here (via Rezker):
 
http://www.4shared.com/rar/Czer-D3tce/GANGSTA.html
 
*edit
I think if that were the case my review would've been veeeeery different.

This is the worst release Sadie has ever put out.
It's inconsistent, repetitive, and unmemorable.
 
The first problem is that every track overstays its welcome. More than half the album is over 4 minutes, most going almost up to 5. While you might think that's actually a good thing, it isn't. There are plenty of tracks that would be fine if they ended about halfway through, especially the heavier ones, but they keep going and going repeating the same elements. It really drags the album down.
 
The inconsistency in this album is no secret. You've got tracks where M to the ao tries the rapping thing (2 only actually), a few that sound more like a poor rendition of a middle school jazz play soundtrack, one that tries to implement electronics and synth for that fun and poppy yet heavy sound, a heavy alternative song (that sounds somewhat like Yellow Card's "Lights and Sound"), an uplifting pop ballad, a "Spirited Away" instrumental piano track, and a majority of songs that feature Sadie's typical chug a chug who gives a shrug style.
 
I'm not even disappointed that the album doesn't incorporate any "gangsta" elements. I just at least expect a uniform sound throughout the album. The album is all over the place and has absolutely no idea what its identity is. I found "Madrigal de Maria" to be a poor album, but it still had a uniform sound between all the songs and you can tell they're all from the same album. 
 
But not using the gangster elements is another thing. If you're going to call your album "Gangsta" and even have a few tracks where you try to implement things like rap, why are there only 2 tracks that you do this on? What is the point to all this? You take these 2 songs out and you're left with nothing that relates to the title. Either go full out or don't do it at all. Make a choice and stick with it.
*
*
I found barely anything worth listening to on this natural born trash CD that is only good as orange rotted.
 
-Shoot the targets, hidden in your mind - there's a lovely melancholy guitar break 2:40-2:50. The actual break is longer than that but when Mao comes in his vocals ruin it.
-Gesshoku - It sounds like Mao says "I scream for you p***y". It's kinda (kinda) funny.
-I find Tokyo Gypsy to be the only song I can listen to (the last guitar melody actually kind of sounds like something off the GazettE's Disorder. Tokyo Shinjuu, Tokyo Gypsy. Coincidence?...maybe?)
 
All in all there's about 5:04 worth of stuff I would listen to on this album.
Sadie needs to stop releasing material for a while and really think about what to do with their music. I think this album proves that they have no idea.
 
Gangsta is a prolonged cluttered wreck that needs to be banned and cut off from all access to consumers.
In fact, someone needs to take every copy and

This is the worst release Sadie has ever put out.
It's inconsistent, repetitive, and unmemorable.
 
The first problem is that every track overstays its welcome. More than half the album is over 4 minutes, most going almost up to 5. While you might think that's actually a good thing, it isn't. There are plenty of tracks that would be fine if they ended about halfway through, especially the heavier ones, but they keep going and going repeating the same elements. It really drags the album down.
 
The inconsistency in this album is no secret. You've got tracks where M to the ao tries the rapping thing (2 only actually), a few that sound more like a poor rendition of a middle school jazz play soundtrack, one that tries to implement electronics and synth for that fun and poppy yet heavy sound, a heavy alternative song (that sounds somewhat like Yellow Card's "Lights and Sound"), an uplifting pop ballad, a "Spirited Away" instrumental piano track, and a majority of songs that feature Sadie's typical chug a chug who gives a shrug style.
 
I'm not even disappointed that the album doesn't incorporate any "gangsta" elements. I just at least expect a uniform sound throughout the album. The album is all over the place and has absolutely no idea what its identity is. I found "Madrigal de Maria" to be a poor album, but it still had a uniform sound between all the songs and you can tell they're all from the same album. 
 
But not using the gangster elements is another thing. If you're going to call your album "Gangsta" and even have a few tracks where you try to implement things like rap, why are there only 2 tracks that you do this on? What is the point to all this? You take these 2 songs out and you're left with nothing that relates to the title. Either go full out or don't do it at all. Make a choice and stick with it.
*
*
I found barely anything worth listening to on this natural born trash CD that is only good as orange rotted.
 
-Shoot the targets, hidden in your mind - there's a lovely melancholy guitar break 2:40-2:50. The actual break is longer than that but when Mao comes in his vocals ruin it.
-Gesshoku - It sounds like Mao says "I scream for you p***y". It's kinda (kinda) funny.
-I find Tokyo Gypsy to be the only song I can listen to (the last guitar melody actually kind of sounds like something off the GazettE's Disorder. Tokyo Shinjuu, Tokyo Gypsy. Coincidence?...maybe?)
 
All in all there's about 5:04 worth of stuff I would listen to on this album.
Sadie needs to stop releasing material for a while and really think about what to do with their music. I think this album proves that they have no idea.
 
Gangsta is a prolonged cluttered wreck that needs to be banned and cut off from all access to consumers.
In fact, someone needs to take every copy and

To me it seems as if its MONSTER part two but more ballsy. The guitar work is what really draws me to it and GO AHEAD is hauntingly scary and is the best song on the track because its raw and that breakdown is nuts. As far as the rest of the songs go, I will admit that I do see some repetitiveness going on but I can deal for the most part. My hope is the same hope that I have for the GazettE's upcoming releases (which Ruki did speak on recently btw) and that is that they grow and build up from what they are doing. This current era of GIRUGAMESH shows that they actually do know how to write music again and is pretty much done with all that poppy nonsense. I wanna see where it goes from here.

If I went by my last.fm charts for the most played album, DSS is at the top. If I go by what I feel is the best album they've recorded, it would be Uroboros. If I'm allowed to choose two, it would be Uroboros and Macabre.

Inb4 any band that does anything remotely close to Old school VK or whatever is copying the oh so great SUKEKIYO.
Tbh the swan shows that 12012 actually has stopped tryna be wanna be'a and do their own thing. To me this is a continuation of that while fusing their older sounds in the mix as well.

Really diggin alone.
But man do these guys ever stay consistent? If someone ever asked me about 12012 I'd have to consider 3 different eras.
I liked the direction they were going with decida and the swan and so was hoping this would be a refined continuation of the two.
Saaaad face.

Just wait for their new look and cd covers.
expecting this :

Hey Sadie