DogManX

Phew   Now a stone falls from my heart.

Phew   Now a stone falls from my heart.

Phew   Now a stone falls from my heart.

I don't think that's true at all. It's that old "back in the days when everything was better" talks. Sure, in terms of naturality, the trend went downwards ever since the early 2000s. Comparing Kisou and Arche especially. But in terms of volume, it depends on the band, the genre, the songs, the choice in instrumentals in how distinct the differences are made. Are certain paarts even supposed to sound more quiet? It mostly comes down to personal perferences.
 
I mean listen to Opeth's Pale Communion. That's a perfect example of volume variety. Done in 2014. Speaking of Arche it's also not that kind of "all in your face even when it shouldn't".
 
And I keep my statement, some people make things way worse than they are.

Skip to 41:00
 
Great I'll remake. I almost didn't recognize the song.

Skip to 41:00
 
Great I'll remake. I almost didn't recognize the song.

The DEG fanbase is amusing. Back before UROBOROS came out, there were debates on whether or not the band was abandoning their so called original sound as if rock/metal music was a norm in Japan before the arrival of KISS, Iron Maiden, and Deep Purple back in the late 70s and early 80s. Even then, the earliest Japanese rock band, Flower Travellin' Band was influenced by the likes of Cream and Jimi Hendrix. With that said, it strikes me odd that there were DEG fans that just assumed that X Japan and others just all of a sudden played rock music with NO outside influence. Even the band had "Western" influences even before coming to the States for the first time almost a decade ago.

When I first heard GAUZE, the production was so lack luster that I assumed that the release was maybe around late 80s and early 90s. I was surprised that the album only came out in 1999. Then again, I don't know much about the behind the scenes of a rock band that just started out in Japan versus a band outside of Japan. It's not the lack of "heavy" music that prevents me from keeping the first album in rotation, just the production value. MACABRE and the releases up to Withering to death. are pretty good, but sometimes I just want more power behind the music. Or as Clarkson would carelessly shout "POWER!" whilst driving a lorry into a brick wall. Or anything infantile that he does for that matter.
 
While VULGAR and Withering to death. were the albums that got me to listening to the band more, it was THE MARROW OF A BONE that got me to listen to the rest of the catalogue without skipping at least seventy-five percent of their music. I still don't get comments like "it's too heavy" or "sound like as if they were glued together" when it comes to tracks in this phase of the band. There are plenty of tracks that could easily fit right in with this phase of the band with modern production and little to no reconstruction. Hydra, Zan, Myaku, and FILTH could fit in with ARCHE and possibly UROBOROS. (Now that I think about it, I'd love to hear a remake of Myaku.) With that said, I honestly can't just choose between the two, but I won't delve into the argument of which era is better. There are a few duds in the early phase, but that won't stop me from listening to it.

Incidentally, I would have gotten into the band a lot earlier, but a certain fan girl who insisted that their earlier stuff was somehow heavier than the likes of Pantera and her holier than thou attitude about Japanese music kind of turned me off from Japanese bands. Then again, this is the same fan girl that claims that GACKT was the better singer of the band. Thankfully, I got into Japanese music through the likes of MUCC and Galneryus.

I happen to love every era of Dir en grey, but I know I'm among those "lucky" people who happen to have no problem with extreme metal. I can totally understand why fans would jump out of their bandwagon once they got heavier, you can't expect fans to just randomly adopt a music genre they just aren't into, simply to be able to go on enjoying Dir en grey.

I find the question to be worded strange. Is it suppose to be true love? Or romantic love as in something other than true love. If it's the former yes, if it's the latter, then one would have to define "romantic love" as it's rather vague and open for interpretation. If the question means something like a strong superficial crush, than yes, because obviously it exists and a lot of people go into and out of those relationships.
 
If the question is asking whether a relationship can work based on "romantic love" then my answer is both a yes and a no. For the vast majority I think most relationships crumble apart if its on romantic love, because the reasons two people are together eventually are discovered to be too weak and not legitimate. But at the same time, I'm sure there are people who stay together in those relationships because of convenience, the time they have already spent together, and out of fear. Personally I would never choose to be in one of those relationships and would break it apart asap if i did find myself in one. 
 
Also so many negative nellies on this thread. Of course true love exists, it's no easy to find or detect, but it's there. And IMO it's more than chemical reactions occurring in your brain. It comes from the very depth of your soul, your non physical heart, - or that's what I like to believe anyway.  
 

How do threads like this always suck in emo people whining how they suck at life? Of course there's love. What it exists for specifically or what we make out of it is disputable though.

How do threads like this always suck in emo people whining how they suck at life? Of course there's love. What it exists for specifically or what we make out of it is disputable though.

Skip to 41:00
 
Great I'll remake. I almost didn't recognize the song.

Skip to 41:00
 
Great I'll remake. I almost didn't recognize the song.

Withering to Death is their worst song to date imho. Cheesy western radio appeal mixed with screaming while having your mouth stuffed with hot tomatoes.
 
 
Really? I always thought he was saying RRRWAA RRWAAHWAAH RWWAAHHH, which is according to kareki of the deepest and most thoughtful kind Kyo has ever said.

I reckon the switch to a 5 string was for more range and better sound and knowing eventually their sound would "require" it. Him and Kaoru seem to be the only ones that are enthusiastic bout the extra strings. Die has been really vocal about not liking em. Makes me wonder why he doesn't just use a regular 6 string tuned to drop A or Drop A#. Say what you want, he can still finesse that to play what the others play. Seems more like a total dictator move on Kaoru's part lol.
 
I also agree with Dogman...Toshiya's baselines and such fit with what Dir en grey is doing. And its more than just slapping the bass. That kind of thinking makes it seem like he's just doing it just to do it. We all all agree that-this isn't the case. Its called switching up the style and evolving. Yes, he had some cool basslines when using a pick but i feel like his technique now was called for...just like the duo solo's and etc. 

Ouch Ouch Ouch Ouch. Ouch.
 
Just reading your nonsense makes me churn up my insides. TWANK KLANG hijinks???? You mean like.. slapping? Until now his bass play has always fitted to the present music, more or less. I'd criticize his Uroboros phase when he randomly played notes just to play them (Glass Skin, Dozing Green etc.). That would really be the highest of feelings. Next, "distorted two-strings-minimalism"? What is that? Do haters of the new songs go to such far lengths to not even care what they critizise? It's laughable. I'm out.
 
EDIT @Saishu I think the Amon bassline was pretty good, underlining the nature of the song perfectly. Diabolos was more of a.. well..pointless thing? He did exceed with the slapping from time to time, but on DSS it was pretty okay overall. I think he will come back to it on the next album or so. DSS was kind of an experiment for the most part anyway.
 
And didn't he have a 5-string during DSS already? I'm pretty sure he did. And he has alot of deep notes on ARCHE to play, still. And all the remade, downtohell-tuned songs.

Ouch Ouch Ouch Ouch. Ouch.
 
Just reading your nonsense makes me churn up my insides. TWANK KLANG hijinks???? You mean like.. slapping? Until now his bass play has always fitted to the present music, more or less. I'd criticize his Uroboros phase when he randomly played notes just to play them (Glass Skin, Dozing Green etc.). That would really be the highest of feelings. Next, "distorted two-strings-minimalism"? What is that? Do haters of the new songs go to such far lengths to not even care what they critizise? It's laughable. I'm out.
 
EDIT @Saishu I think the Amon bassline was pretty good, underlining the nature of the song perfectly. Diabolos was more of a.. well..pointless thing? He did exceed with the slapping from time to time, but on DSS it was pretty okay overall. I think he will come back to it on the next album or so. DSS was kind of an experiment for the most part anyway.
 
And didn't he have a 5-string during DSS already? I'm pretty sure he did. And he has alot of deep notes on ARCHE to play, still. And all the remade, downtohell-tuned songs.

He'd be a better drummer if he practiced. Nuff said

I can't stand Shinya. Like.. man up!! Try to finish a sentence without gazing downwards. What's he thinking anyway? That this will attract japanobitches with their kawaiiiiiiiiiiiiiiiii-tic? Or like "Oh my god that guy is so cute oh mi gosh I hope no one sees I'm getting red~"
You're a fucking rockstar. Everyone admires you. And you live in japan where no one will ever critizise you. Don't act like that fucking shy girl whos new in school for fucking 15 yraes straight.
 
(I'm sorry yall please don't mind it)
 
I wanna see Kyo with a fucking bärtelhut and lederhosen. Then he got my respect. That would be fucking awesome.

To Pretzels: You are not "DEG-fans", you are you. And I don't like stupid theories. Hearing out a "lack of chemistry" or whatever is your deal. To me they write whatever they write. If it's good it's good. If not, it's not. That counts for any song they write, no matter how long. I don't need pseudo-explanations to why certain songs just don't work with me.
 
Got it ?

To Pretzels: You are not "DEG-fans", you are you. And I don't like stupid theories. Hearing out a "lack of chemistry" or whatever is your deal. To me they write whatever they write. If it's good it's good. If not, it's not. That counts for any song they write, no matter how long. I don't need pseudo-explanations to why certain songs just don't work with me.
 
Got it ?

I know I'm new here, but maybe your point would come across better if you were less obtuse.

To Pretzels: You are not "DEG-fans", you are you. And I don't like stupid theories. Hearing out a "lack of chemistry" or whatever is your deal. To me they write whatever they write. If it's good it's good. If not, it's not. That counts for any song they write, no matter how long. I don't need pseudo-explanations to why certain songs just don't work with me.
 
Got it ?

To Pretzels: You are not "DEG-fans", you are you. And I don't like stupid theories. Hearing out a "lack of chemistry" or whatever is your deal. To me they write whatever they write. If it's good it's good. If not, it's not. That counts for any song they write, no matter how long. I don't need pseudo-explanations to why certain songs just don't work with me.
 
Got it ?

@Pretzels And what is writing shorter songs then? Municipal Wastian? Give it up. Bands happen to write long songs. Dir en grey's long songs can be counted on one hand. It's a natural outdrift. Sometimes it works, sometimes it doesn't. That's how easy it is.