12012 - THE SWAN

[relentless 254]

The development of 12012 has been controversial to say the least. It's almost like they have become the "new Dir en grey" in terms of the stark contrast between opinions on where this band is going. Some love their heavier sound, others rally against it. So where does this mini album stand? Well...things certainly won't change.

12012's new mini-album, THE SWAN, is a set of varied songs that all carry a similar sound throughout without sounding completely alike (like in their previous 2 releases). On this release, you have varying melodic structures in THE SWAN, to heavy hitting prog metal riffs in DEADLY CIRCUS. It's safe to say, there's a little bit of everything; but is that "little bit of everything" any good? Well...the answer is yes and no.

Where this album excels is the growth that the band has achieved to this point. There's variation. Not every song features pseudo-heavy chugging riffs -- in fact it's less frequent than in their self titled and Deicida of Silence. Here we have something that is more expertly crafted, even if in it's entirety that isn't saying much. You can tell there is a strong effort for this band to push forward into changing their sound and experimenting with what works. In fact, this is the first 12012 release where I was pleased at parts -- and this is the first time I've ever been remotely pleased with 12012. From the main guitar riff in DEADLY CIRCUS, to the evolving structure in 月光 that ends with one of my favorite moments in any 12012 song.

The ideas are great; but not always the execution. There are two examples that I can point to that ultimately ruins this mini-album (and yes, RUINS) as a whole. The first is Wataru's vocals -- both content and execution. It's BAD. It's TERRIBLE. It is practically UNBEARABLE. Take THE SWAN for example: Wataru goes through the song with attempts at English that just comes out lispy and off-key. Not only are the sounds disgusting; but even his lyrical content is beyond boring (singing about looking out of his window, and crying...I mean..honestly?). Where the track excels is in the musicianship; but even that suffers -- and I am specifically referencing the drums and overall production.

These guys are a professional band, and this is the production we're left with? Not only do the drum fills have volumes ABOVE THE RED (what professional engineer would look past that and think it's OK?); but the rhythm guitar is dramatically panned to the left channel causing the volume to drop significantly. So, whenever there's potential for an awesome guitar passage, it's hidden behind the overly loud drums and first guitar. This is what people did with Stereo back in the 1960's...and not what should be happening in 2013 with the mixing equipment and abilities we have now.

The vocals and drums are a mess. It's bad. More often than not Wataru sounds more annoying than SUPER DEEP AND PASSIONATE with his child-like screams and lispy melodies that are ALL forgettable. I get he's trying really hard to be operatic in nature (i.e. Kyo); but it doesn't work with him. It's either too far out of his range, or he's not even using proper breathing techniques to get desired falsettos. It's all admirable in thought; but it's executed HORRIBLY.

This mini-album has awesome IDEAS; but because of the poor production and terrible vocals, it falls flat. Get rid of Wataru, or at least get him some singing lessons.

5/10 (High score for the great ideas presented and the willingness of the band to grow)

[nekkichi 6042]

 

compared to this mini-album, all of their previous discography sounds v. neat, well done and coherent

 

★☆☆☆☆☆☆☆☆☆

[nullmoon 784]

I think this is a grower. Apart from The Swan, I found the mini-album really messy compared to their last effort. After a few listens I still find it quite messy but replete with some great ideas. It's very Westernised in its sound and not as varied as Deicida of Silence but its a decent effort. I'd at least give it a 7/10

[Elazmus 1873]

I actually like the vocals on The Swan.. Maybe I'm the only one, Wataru seems not to be trying so hard to be operatic as he was on the self titled album, he sounds more like his original singing style. His English is bad, always has been, but language skills and singing skills should be judged on different scales. His vibrato is noticeably improving and becoming more consistent. If you have always disliked his voice then you wont like here either, but he is quite obviously better than when the band was young.

 

Just wanted to voice my opinion on the...voice.. lol so there you go, hate away! As for the songs themselves;

 

The Swan leaves a lot to be desired, but given its place as the first song on this more conceptual release it makes more sense to not pack a 5+ minute ballad track at the beginning to be backed up by only shorter songs. Karma and Deadly Circus initially interested me the least, these two songs more than anything prove that this is experimental for them. Wataru uses strange vocals throughout them and overall they are the most energetic in nature, there is a lot to like here if you are willing to be open to it. Gekkou is my favorite song on the album, the best written IMO and leads very nicely into Black Rain, also a good song (not great) which leaves the mini album off on the same somber tone that The Swan set it up for.

 

I know I'm the only person on earth that likes what 12012 is doing lmao and I'm fine with that