TheStoic

So, being the good Dad I am, I do all I can to ensure my 4 Year Old daughter is exposed to stellar music so that she doesn't grow up listening to the Abomination that is American Pop music. 
 
In my pursuit of this, I recently turned on 猫又 [Nekomata] by AvelCain, knowing that she would probably love the "Meow" sample in the song intro.  She loved it so much that she asks me to play it every time we go for a drive in the car, and she seriously shakes, moves, and head-bangs to the music as soon as that "Meow" sounds.
 
I shall continue this experiment to ensure that she not only learns to enjoy Rock music, but Japanese Rock music.

You know how in every fandom, franchise, etc there's that one thing that a lot of the people like to over-exaggerate hate for or just hate because its the popular thing to do? The Marrow of A Bone is that for Dir en grey. Its actually pretty baffling to see how much flack that album gets when in all honesty, its really not that all that bad at all. Yes, lyrics wise, its a lil bleh but production and sound wise, it was a pretty original and cool take on hard rock/metal. Also, mixed in properly with a setlist, these songs shine so well. It also contains some of the bands best songs. 
 
I am so thankful that i decided to listen to that first instead of their previous albums. Don't get me wrong, I still enjoy them from time to time but its MOAB that made me go "YES, I AM WET" and made me eager to check out the older albums and SEE where they could go from there.

Aha, brilliant topic.
 
This is a difficult one for me as I find that my favourite albums from the band come from both 'sides' of their career; namely Macabre and Uroboros. Furthermore I actually find that these two albums have more in common with each other compared to, say, Uroboros and Arche or Macabre and Vulgar. I don't find that Dir en grey's discography fits as neatly into two distinct eras as a lot of people tend to. In fact I'd argue there are at least three distinct eras for the band: Missa-Kisou, Six ugly-Marrow, and Uroboros-Present, though even then I'm not so sure about that last one since I consider Arche to have more in common with their work from the Six ugly-Marrow era than with Uroboros or DSS. 
 
Anyway, in the end I opted for 'Dir en grey' mostly due to this:
 
This has been my biggest problem with DIR EN GREY in recent years (most notably on Arche and The Unravelling, though also noticeable at times on DSS). As much as I adore Uroboros, that's honestly the last album they put out where I felt that pretty much every song was an organic creation born out of some coherent creative vision. Since then a lot of their music feels more like it was forcibly produced in order to substantiate a new release at the expense of organic songwriting. So yeah, Dir en grey wins for me.

Cat...cat, cat, cat, cat.
 
 
1) I come from the same league as Furik or maybe even Stoic- as in being long-time (prolly senile, lol jk) DEG fans who still cling upon them despite mustering a large plethora of feels towards the band - love, hate, disgust, awe, confusion, nostalgia...
 
Even if I had been more likely to retell redundant stories on how early DEG affected my life and so on , it wouldn't rule out the fact that I appreciate cohesiveness of their works as DEG circa '06...to some extent. While MOAB and Uroboros prioritized the consistent formation of Dir's "primary sound" (which they actually lacked if we were to look back to Macabre or so), the latter might have motivated them to execute the (possibly) never-ending cycle of retrospective albums (feel free to contribute in case I missed the "new" on ARCHE for instance), without much new ado and whatnot. Is that "a sign of growth"? I'll leave it for you guys to think about for a moment.
 
2) 
 
 
This means you are counting "ARCHE"  in as well? No one from the band has ever said they are "out" from visual kei on that matter (also, as my lovely namesake put it simply: once vk, always vk)? Also, I will let their current antics be the main statement here, heh.
 
3)
 
Speaking of "duds", I personally see the primary metal direction they are cherishing ever since 2008 (since nu metal "is not metal", amirite friends?) as the main dud of their overall career. Why? It doesn't take a genius to note that various metal epics or just standalone bangers are just de trop and too over-the-top for certain key players in the band - Shinya as a case in point. Consequently, my current reaction towards any kind of banger (which cool kids call "br00tal") they are churning out in metal-like format is similar to how classicism aficionados would react to any kind of Dadaist piece...
 
I like my DEG as the band that doesn't overshoot performances and sticks to executable, coherent ideas and ear-friendly arrangements (mastering and dying cat highs, urgh). 
 
Summary of my mixed feelings:
 
Dir en grey
+ Appreciated variety of ideas
+ Moderate but brave decisions in terms of arrangements
+ Try-hard numbers kept to minimum (except for a few occasions, but JUST a few)
+ Ballads are really moderate but still retain their spot-on value
- No direction
- Clusterhecking value, no signs of coherent structure
- Mixing or mastering tends to get mixed (there are great moments, but there are also horrid moments)
 
DIR EN GREY
+ Obvious signs of direction/general idea per album, even with random experiments
+ Dynamic, collaborative riffcraft (to most extent at least)
+ Interesting aspects of arrangement or vocal-specific experiments (e.g. RED SOIL)
+ Heavier tracks tend to sport more oomph
- ...but are also more likely to get campy or totally ridiculous for the most part (um, "The Inferno"?)
- Ballads are much poorer and focus on Kyo's performance way too much
- Most  songs sound like as if they were glued together, rather than formed as solid, coherent entireties
- Retrospective concept behind each post-MOAB album is getting tiresome, stop.
 
All in all, I might be still that sucker with biased votes on old DEG - sorry guys! *Kardashian shrug response to Kanye*

If I was forced to choose one era, I would have a difficult time, but I have honestly enjoyed the evolution of the band from their early tracks to now.
 
Ain't Afrad to Die was the first Dir en grey song I heard after seeing it rated the #1 release of the month on a J-Rock website I frequented.  I had a friend of mine download it off Audiogalaxy, and I thought it was beautiful.  I always loved dark and melancholy music - and that song filled that void.
 
I soon after purchased 鬼葬 [Kisou] at my local Fukuhara as it had just been released, and I was captivated.  It was so much darker, heavier, and manical than the other J-Music I had been introduced to by my Japanese friends, and I embraced it.  After 鬼葬 [Kisou], I went backwards in the discog and bought Macabre, then Guaze, then Missa (that one was hard to find in stores) - and downloaded the early tracks and B-Sides that I couldn't find.  I became a loyal fan ever since.  From that point, I purchased every EP and album following it that was relased and have enjoyed them all, and still enjoy them all.
 
The more I listen to their releases, the more I come to feel that 鬼葬 [Kisou] is my most beloved album by them.  It was experimental and varied, with a great mix of slow tracks and headbangers.  But I still have grown to love their current incarnation, and actually have widened my muscial tastes becuase of their evolution.

If I was forced to choose one era, I would have a difficult time, but I have honestly enjoyed the evolution of the band from their early tracks to now.
 
Ain't Afrad to Die was the first Dir en grey song I heard after seeing it rated the #1 release of the month on a J-Rock website I frequented.  I had a friend of mine download it off Audiogalaxy, and I thought it was beautiful.  I always loved dark and melancholy music - and that song filled that void.
 
I soon after purchased 鬼葬 [Kisou] at my local Fukuhara as it had just been released, and I was captivated.  It was so much darker, heavier, and manical than the other J-Music I had been introduced to by my Japanese friends, and I embraced it.  After 鬼葬 [Kisou], I went backwards in the discog and bought Macabre, then Guaze, then Missa (that one was hard to find in stores) - and downloaded the early tracks and B-Sides that I couldn't find.  I became a loyal fan ever since.  From that point, I purchased every EP and album following it that was relased and have enjoyed them all, and still enjoy them all.
 
The more I listen to their releases, the more I come to feel that 鬼葬 [Kisou] is my most beloved album by them.  It was experimental and varied, with a great mix of slow tracks and headbangers.  But I still have grown to love their current incarnation, and actually have widened my muscial tastes becuase of their evolution.

If I was forced to choose one era, I would have a difficult time, but I have honestly enjoyed the evolution of the band from their early tracks to now.
 
Ain't Afrad to Die was the first Dir en grey song I heard after seeing it rated the #1 release of the month on a J-Rock website I frequented.  I had a friend of mine download it off Audiogalaxy, and I thought it was beautiful.  I always loved dark and melancholy music - and that song filled that void.
 
I soon after purchased 鬼葬 [Kisou] at my local Fukuhara as it had just been released, and I was captivated.  It was so much darker, heavier, and manical than the other J-Music I had been introduced to by my Japanese friends, and I embraced it.  After 鬼葬 [Kisou], I went backwards in the discog and bought Macabre, then Guaze, then Missa (that one was hard to find in stores) - and downloaded the early tracks and B-Sides that I couldn't find.  I became a loyal fan ever since.  From that point, I purchased every EP and album following it that was relased and have enjoyed them all, and still enjoy them all.
 
The more I listen to their releases, the more I come to feel that 鬼葬 [Kisou] is my most beloved album by them.  It was experimental and varied, with a great mix of slow tracks and headbangers.  But I still have grown to love their current incarnation, and actually have widened my muscial tastes becuase of their evolution.

They really needed to send this out to be mixed and mastered. It sounds like a demo. But I like the songwriting so I'll just wait and hope they up their game on the next release.

After hearing DECAYS and Sukekiyo, it is so clear that influence that Kaoru has on the bands sound.  It is why he has always been my favorite member as I know the dark and agressive sound is cultivated mostly by his musical direction.
 
When it comes to choosing remakes, I was suprised that 深い [Fukai] vs. (the Code of Vulgarism version) wasn't listed.  I honestly love both versions of that song, and to this day it is one of my favorite Diru B-Sides, mostly because that was the height of my Diru obsession when I was in High school in Japan.  For that reason, many of my most nostalgic and beloved songs come from the 鬼葬 [Kisou] - WTD era, but I still love their new and old songs too.
 
I never understood all the hate for MOAB - Songs like 艶かしき安息、躊躇いに微笑み [Namamekashiki Ansoku, Tamerai ni Hohoemi], 凌辱の雨 [Ryoujoku no Ame], and The Pledge are some of my Diru favorites - and just becasue the band dabbled in Metalcore after the Family values tour doesn't mean they executed it poorly - I'll never forget the energy of The Fatal Beliver as the opening song when I saw them at the NYC Inward Scream show.
 
It is hard choosing favorites amongst the massive discog they have.

After hearing DECAYS and Sukekiyo, it is so clear that influence that Kaoru has on the bands sound.  It is why he has always been my favorite member as I know the dark and agressive sound is cultivated mostly by his musical direction.
 
When it comes to choosing remakes, I was suprised that 深い [Fukai] vs. (the Code of Vulgarism version) wasn't listed.  I honestly love both versions of that song, and to this day it is one of my favorite Diru B-Sides, mostly because that was the height of my Diru obsession when I was in High school in Japan.  For that reason, many of my most nostalgic and beloved songs come from the 鬼葬 [Kisou] - WTD era, but I still love their new and old songs too.
 
I never understood all the hate for MOAB - Songs like 艶かしき安息、躊躇いに微笑み [Namamekashiki Ansoku, Tamerai ni Hohoemi], 凌辱の雨 [Ryoujoku no Ame], and The Pledge are some of my Diru favorites - and just becasue the band dabbled in Metalcore after the Family values tour doesn't mean they executed it poorly - I'll never forget the energy of The Fatal Beliver as the opening song when I saw them at the NYC Inward Scream show.
 
It is hard choosing favorites amongst the massive discog they have.

his new song "GLASS SKY" has been available for free download since 2015/09/25 and up to 2015/10/25
 
GLASS SKY

The single version was the BEST one. Dir en grey needs to stop messing with the single versions of songs when it comes to albums. They always sound watered down. 

Deeper Vileness is one of their better tracks. Honestly pretty much anything on MOAB is good in my opinion. Such an underrated album.

Couldn't agree more with your review, it's an almost perfect album from every point of view. HAGANE is my favourite song from the new album.

Artist: 和楽器バンド (Wagakki-Band) Album: 八奏絵巻 (Yasou Emaki) 1. 戦 -ikusa- 9. 暁ノ糸 (Akatsuki no Ito) 2. 星月夜 (Hoshi tsuki yo) 10. 白斑 (Hakuhan) 3. Perfect Blue 11. なでしこ桜 (Nadeshiko Zakura) 4. 追憶 (Tsuioku) 12. 反撃の刃 (Hangeki no Yaiba) 5. 鋼 -HAGANE- 13. 千本桜 (Senbonzakura) 6. 風鈴の唄うたい (Furin no Utautai) 14. 華振舞 (Hanafurumai) 7. 華火 (Hanabi) 15. 地球最後の告白を (Chikyu Saigo no Kokuhaku wo) 8. 郷愁の空 (Kyosyu no Sora)
Rating: | Another breath of fresh air blows from Japan!
 
Nothing seems poised to stop the powerhouse that is 和楽器バンド (Wagakki Band). The fusion of shigin, wagakki, and modern rock has not failed to impress me yet. "戦-ikusa-", "反撃の刃", and "なでしこ桜" have already been utilized as tie-ins for three anime, their music videos have impressive CGI and appear to have quite a hefty budget, their outfits certainly aren't cheap, and the packaging for their second album 八奏絵巻 (Yasou Emaki) even comes with a USB katana! That's just awesome. They've been steadily making waves and are the last rock band since Malice Mizer to garner enough national attention to go from fringe curiosity to major label act in three years. I've never had anything negative to say about them, except perhaps that they haven't recorded enough music. It's a common sentiment among everyone I know that give this band some spin time, so this is an album I've been waiting on for some time.

I'm glad to say it's everything I expected and then some.The transition between playing covers and writing music has been seamless. So much so that it's not clear at first what's a cover and what's new. But what's more impressive is how 和楽器バンド have gained an almost chameleon ability to swap atmospheres without losing their core sound. It's the only thing which keeps them from cornering themselves stylistically. This speaks well to how creative they are as musicians for being able to diversify so much without breaking their theme. 八奏絵巻 starts with their most straightforward rock anthem, "戦 -ikusa-", and from there the compositions and techniques increase in scope and complexity. "Perfect Blue" may even be the most eclectic blend of wagakki and rock I've heard thus far, and the trading between shamisen player 蜷川べに (Beni Ninagawa) with the vocalists during the chorus really takes things to the next level. However, do not confuse this "scope and complexity" with experimenting. Undeniable stylistic resemblances surface in tracks like "華振舞" and "華火", but the amount of control the wagakki assert over their style ensures that any resemblances don't come off as different variations of one song. It helps that they are deeply integrated into the performance of each track as well, never feeling like an afterthought or a gimmick.

While they can swap atmospheres successfully without losing their identities, they're at their best when they're dark, mystical, and push the rock side of their sound to the max. It is those moments when the band comes to life. The progressive, unorthodox "暁ノ糸" is a perfect example of this. The subdued opening hints at something larger before all hell breaks loose and the frantic race to the climax begins. The shakuhachi and koto are important instruments in defining their sound, and both stick out during the rising action especially in this song. It's definitely one of the best songs on the album and was a great choice for a music video. "白斑" and "反撃の刃" are other highlights of the album, providing similar but equally satisfying experiences, and will appeal to those who prefer the more direct approach of the band. I also can't forget to mention "千本桜" (which at this point is effectively their anthem, sorry Hatsune Miku), which in it's third iteration has been retrofitted with additional guitar strumming and better sound staging. It's the little details like this that add to the experience of the album and make it more than just good.

The twin vocalist dynamic is one of the defining elements of their sound. Lead shigin singer 鈴華ゆう子 (Yuuko Suzuhana) gets the bulk of my praise for her expressive, emotive delivery. She shines brightest on the ballad "風鈴の唄うたい" but impresses with satisfying performances on every song. Her range and her ability to switch between enka delivery and regular singing is incredible, and her vocal melodies are sure to get stuck in your head. What is not to be missed are the efforts of 町屋 (Machiya), the guitarist and backing vocalist. He doesn't have as much range as ゆう子, but his voice is quite pleasant anyway. The two complement each other in a way that would make Kuroneko and Matatabi from heavy metal cousins 陰陽座 (Onmyouza) proud, and 町屋 even successfully takes lead vocal duties on "郷愁の空"!

They've got the looks, accessories, and budgets visual bands would kill for. They've got the musical chops to keep their mini orchestra together and they've got the creativity to turn their gimmick into a theme. It's never been a safer time to join the fanboy wave.

Support the band! Purchase 八奏絵巻 and other albums are available for purchase on CDJapan

1/f揺ラギ(1/f yuragi) new mini album "畢りの肖像(owari no shouzou)" will be released at 2015/09/30 (2,000yen)
 
[track list]
01.畢りの肖像(owari no shouzou)
02.群青(gunjou)
03.サクラの雨(sakura no ame)
04.君がいる世界に僕は依存していよう(kimi ga iru sekai ni boku wa izonshiteiyou)
05.暁(akatsuki)
 

 

FAR EAST DIZAIN 1st full album "TONICK DIZAIN" will be released at 2015.11

Most of the bands I miss were already mentioned in spades, such as D'espairsRay, Code Rebirth, Kagrra,, -Oz- and Deluhi.  The love for Janne da Arc right out of the gate made me smile - they were one of the first J-rock groups I listened to, so I was happy to hear that.
 
I'm glad meth. [メス] was mentioned.
 
Bands I don't recall seeing were Eat You Alive, Signal and the legendary Siam Shade.

So, being the good Dad I am, I do all I can to ensure my 4 Year Old daughter is exposed to stellar music so that she doesn't grow up listening to the Abomination that is American Pop music. 
 
In my pursuit of this, I recently turned on 猫又 [Nekomata] by AvelCain, knowing that she would probably love the "Meow" sample in the song intro.  She loved it so much that she asks me to play it every time we go for a drive in the car, and she seriously shakes, moves, and head-bangs to the music as soon as that "Meow" sounds.
 
I shall continue this experiment to ensure that she not only learns to enjoy Rock music, but Japanese Rock music.

I haven't listened to any of this yet. Seeing these comments makes things 10 x harder. In both senses.