#113: NINTH by The GazettE

[Zeus 7997]

 

| One of the best GazettE albums in recent memory.

I can't believe it's been three years since DOGMA. It feels like I just finished roasting it for being the "most underwhelming album of the year" and "ARCHE, Iowa-era Slipknot, and a quarter of DIM shoved in a blender and served cold". To be fair, most of my criticisms came from how stale and similar all the songs felt; the result of going a bit too far in the metalcore direction. Ever the perfectionists, it seems that the band actually addressed all of my complaints with NINTH. By combining the dark and heavy nature of DOGMA with the electronic rock explored with TOXIC and DIVISION and the retro "Gaze-rock" style of BEAUTIFUL DEFORMITY, The GazettE have succeeded in delivering an experience that mixes old and new sounds. NINTH won't win you over if you don't like the direction of the last four albums. If you took more of an issue with the execution of those concepts, than this is what you've been waiting for since DIM.

 

It's been a while since I feel comfortable recommending an album of theirs. NINTH is an easier and more engaging listening experience than DOGMA, with smooth, slick, and balanced production. I don't understand the criticisms of "muddy production" because I don't hear it. I even pulled out my good headphones - the Sennheiser HD600s - and plugged them straight into my Logitech speakers to pluck out minor grievances with the mix and it sounded better that way. This reaches a level that visual kei music can rarely afford to reach. Ruki has advised fans to get great audio equipment to experience each album to the fullest, but I think it's more true now than before. The songs are also arranged very well and flow into each other, and I can't recall a single jarring stylistic transition. All of these elements together makes every song an attractive listening experience. There's also the absence of several elements which used to drag down prior releases: the lack of standout tracks, filler, and clumsy Green Day-ish all English punk songs that stick out. The GazettE cut the fat out of this album in a way I wish Dir en grey could.

 

An album can still have highlights even when it's consistently good. I can't end this review without naming my favorite tracks. The first would be "その声は脆く", a rock ballad which starts on an unassuming note before effortlessly sliding into a thick, melancholic atmosphere. It even has a (short) twin guitar solo, a staple of rock songs I've been missing from their music lately. The follow-up track, "Babylon's Taboo", creates the best one-two punch on NINTH. I could be convinced that this is a heavier take on an unreleased 9GOATS BLACK OUT song. "Falling" is the de facto single of the album, receiving the first music video to push the album, and there's a damn good reason why. "The Mortal" is another track that deserves a shout out for mixing some of NIL-era flavor in the chorus with DOGMA-style riffs in the breakdown, and serves as a great summary for the journey the album takes us on. If The GazettE were still releasing singles, this would have been the second one.

 

NINTH makes a strong argument for keeping a low profile until an album is complete. Visual kei bands can capture my attention with rapid fire single releases, but that makes it harder to impress me with an album of familiar content. NINTH wouldn't be as impressive if they gave us previews and teasers months or years before it was done. I hope other bands are taking notes. If you haven't already, put some cash towards this worthy album. It will be favorably remembered for years to come.

 

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[Shmilly 519]

Nice review. While it would be accurate to say that this album reminds me of many past albums at once, I think it would be doing an injustice to NINTH not to credit it as its own 'era' of Gazerock. The band hasn't just thrown in callbacks to their lengthy discography, they've evolved and grown in a way I didn't think was possible this late in their musical career. With Reita himself admitting in an interview that it was hard to get out of the 'dark' phase they found with DOGMA, and some interesting comments in the interviews and liner notes of the album (these can be found in the 'Reference Book' for those who can read 日本語 until someone other than me can be bothered to make a translation), I think the band surprised even themselves with some of the compositions on this album.

 

Falling was always an excellent track and remains possibly the only real stand-out, but that by no means discredits the rest - in fact, this is one of the most consistently pleasing albums we've had from the GazettE in a long time. NINTH ODD SMELL was made to be headbanged to live; THE MORTAL has a gorgeous juxtaposition of an oppressive instrumental atmosphere and Ruki's soaring vocals; BABYLON'S TABOO, while not my personal favourite, is one of the most alternative, industrial-sounding experiments we've heard from the band; and the old-school vibes of 裏切る舌, which the members wondered if newer fans would catch on to or applaud as something new and original, were a fun shake-up towards the back end of the album. TWO OF A KIND is possibly my second top track, it hits hard and the ending is to die for, and UNFINISHED brings things to a close in a nostalgic way very reminiscent of truly old-school GazettE 春雪の頃 (shunsetsu no koro).

 

The fact that I have something to say about pretty much every song should speak volumes about the album as a whole. It's varied but consistent, a quality somewhat lacking in recent efforts, and one of my easiest recommendations for getting into this now almost legendary band.

[zombieparadise 487]

This album is really good and fun to listen to. I've been 'spinning' it for two weeks and keep coming back, finding new things to appreciate with each new listen. I feel like this one's less about the atmosphere that was DOGMA, focusing instead on some really fun music. Hands down the best GazettE album since DIM for me (Haven't really enjoyed this much since that era, though I like some of what they've done in the time in between)

 

Favorite tracks: The Mortal (Love the chorus/synth), その声は脆く(A sleeper hit with a powerful melody), Babylon's Taboo (Pretty original for them; heavy, 'groovy' and interesting, without much screaming which is a nice touch) and Unfinished (Super fun; I don't recall a GazettE album ending on an upbeat track like this)

[YuyoDrift 1540]

I agree completely with your take on the sound production, and the efforts to use better sound equipment must have made that much more of a difference.

I had a similar experience, as that itch for experimentation got the best of me, and I decided to listen to NINTH again and again, using 3 different types of headphones (open-back, closed-back, and noise-cancelling) with and without a DAC/Amplifier, as well as listening to it in the car (windows up and down), and even on the plane during my vacation trip haha.

 

Ruki's recommendation to obtain better audio equipment in order to listen to their albums at their best is solid advice for sure.

Guess it would be no surprise then to anyone that listened to NINTH through something similar to Apple earpods and complained about the sound, simply because of the frequencies that overlap entirely from it's production (could be that muddiness everyone is referring to). Even in my own search to find the right balance of equalization and driver amplification to make this album sound amazing, I could feel that GazettE standard being set higher and higher. Perhaps we have become a bit too jaded with past expectations from the GazettE to present new ideas, that now we even criticize the sound when it differs from what we are used to. Perhaps this issue with the sound production is the first of many complaints to come until fans actually take Ruki's advice. Just gotta wait and see.

 

Here's my review on NINTH.

 

Spoiler

So after a couple weeks, and about 35+ listens through the album, I felt that I have spent enough time listening to NINTH. I am aware of the discontent regarding the sound production of the album, and while I would agree to an extent that it lacks control in a few tracks that need it (as far as separation of instruments go), I wouldn’t necessarily dismiss the songs themselves because of it. At least, I didn’t.

 

1.      99.999

I really wish this track didn’t start the way it does. Does anyone else’s ears hurt from that? Haha. This track is pretty cool as far as SEs go, and in an environment with a subwoofer/amp, the range in basslines can be filled with reverberation or resonance, which I thought was nice.

 

2.      Falling

It’s a great song, both lyrically and instrumentally. In comparison to the PV version, production on the album version has brought unison of both guitars, to which many have already voiced distaste for. This version is a great representation of the rest of the album, which I have no problems with personally.  I feel distortion and pain was the intent of “falling”, and they hit the mark. Bravo.

 

3.      Ninth Odd Smell

You can really tell the most notable change thus far in the album is the drumming. I’ve been saying this for almost 3 years now but Kai is doing a banging job in improving his versatility within the band. That opening was very reminiscent to something Dir En Grey has put together in the past. Even though I applaud the beginning, the most interesting part of the song is in the second half (around 1:48), because they’ve seamlessly slipped in DOGMA era into the mix, which caught me off guard. Since I’ve grown to appreciate DOGMA for what it is now, this nuance in sound felt fitting, like it was something they would do.

 

4.      Gush

This track has a composition similar to rock bands here in the USA. I spent a bit of time trying to identify the band they took notes from (never figured it out). I figure it’s just a spin on various ideas since the song itself changes tempo at different points, yet feels solid as a whole. It will take time for it to grow on me.

 

5.      The Mortal

Not sure why, but I felt we took a trip back to DIM territory (if DIM era gazette still existed in 2018, and electronic influences were finally accepted). Basslines are reminiscent to that era up until 2:01, where the chorus takes off amazingly! I’m slightly reminded of that intensity from “goddess” that brings much more impact to the influence this track holds. Basslines from song are stronger within the midrange, and become too much if used with headphones with priority to the lows. Unfortunately if you want to appreciate this track you may need headphone amplification.

 

Note: I want to believe that the “muddiness” is actually intentional (especially after translating the lyrics on some of the songs). Wouldn’t it be funny if they trolled us hard with the sound production?

 

6.      虚 蜩

First word I thought of was “Damn”. Talk about a style of the GazettE I haven’t heard in a long fucking time. When this song started, I was completely thrown off by the instrumental that I assumed was another ballad, to a switch up of tempo to something so great, the only thing I could do was sit back in my chair and just, listen to that damn guitar being bled dry in bliss. This song flows so damn well I can hardly believe that this song is in this album. This is like anime OP levels of great haha and it even sounds like one too.

 

7.      その声は脆

A ballad with a familiar composition, but upon execution became a ballad like none before it. Moderate volume, well-paced, leaving nearly zero faults to this song. The soundstage/imaging becomes wider with an open-back set of headphones, and so I would recommend people who want to experience what I mean to use heaphones if they have some.

 

8.      Babylon’s Taboo

With a style that I could compare very easily to Marilyn Manson and Nine inch nails (I’m definitely on board with this) there was once again, a unique change of pace to the rest of the album, feeling like something left over from Beautiful Deformity. This song is definitely inspired by the likes of those of us in the western side of the world. While slightly off putting, I’d be a liar to say that I was not interested in what something like this would sound like haha.

 

9.      裏切る舌

If you can look past the electronic bits, there are remnants of NIL in this track, as the improvisation of Ruki’s singing and guitar strings are present here, and yet there is a dash of DOGMA thrown in this. I simply can’t dislike this song for that reason alone.

 

10.  Two of a kind

There’s a refinement to this track that almost feels like something from DOGMA, but at the same time seems like a mash up of DIM and TOXIC. I’d say this is probably the only track I would consider generic GazettE thus far. With that said, I just want to take a moment to point out that impressive guitar play at around the 2-minute mark. Nice to know they still like to throw in a couple curveballs here and there.

 

11.  Abhor god

To tell you the truth, I don’t know how to begin describing this track. If I had to pick a word, it would be versatile, and that’s because pacing on this track is all over the place which in this case is welcomed. Kai has vastly improved in the last couple albums, and Abhor God definitely showcases those efforts without a doubt. I bet this will sound amazing live.

 

12.  Unfinished

I don’t know why (seriously, I don’t know why) but even though this song has no similarity in sound, I feel that UNFINISHED will soon become the next “tomorrow never dies” or (dare I say it) “未成年(Miseinen)”.  I could hear slight influences from Toxic, and for some brief moments, everything NIL/Disorder/and Stacked Rubbish were known for. Ruki actually went all out on this one, the son of a bitch. In fact, they all did! With the intensity of the track, Ruki sounding like he’s gonna pass out after that yell at 2:37, and my headphones cranked at max volume, I thought I was gonna have a nosebleed haha. Definitely a song to remember, and an appropriate closing track to an incredible album.

 

With that said,

 

| An album that GazettE fans have been waiting years for.

 

What I felt I listened to in NINTH was what a lot of us were truly waiting for. Something that kind of stopped with TOXIC, and DOGMA was the complete opposite of. It’s weird, but this feels like a GazettE album. There exist tracks that can be rightfully placed into the hall of Gaze-favorites. The sound is reminiscent to their days of spontaneity, where they just went at it with a collection of ideas, and in this case those ideas became NINTH. Is this is rival to DIM? I’d say no, and that’s because it is too sporadic in sound and execution to be heralded as one (too mashup-y in simple words). I can comfortably say that NINTH is a rightful successor, as it checks all the boxes that I feel made me a fan all those years ago, and even has the potential to be an album in 2018 that you can easily recommend to new fans of the scene. I think most would agree that if the album still holds its appeal even after as many listens as I have gone through, then it will most likely stay that way.

 

[darkindastad 47]

Completely agree. This is the first album in a while I can listen to the whole way through and not need to skip any tracks. As Zeus said, they cut the fat from this one. I am an album oriented person and always love when there isn’t the need to edit tracks out. I would rather have a solid album like this, then a bunch of singles. I didn’t think I was ever going to get another album like this from them. A solid album in my opinion and a job well done

[Saishu 1589]

I skip Gush. I do not like anything about that song at all. 

 

Regarding the production, it’s safe to assume a lot of people are listening to shitty rips on stock earbuds, but I’m not, and I think Dim and even Dogma had better mixing than Ninth. I won’t say it’s muddy, but I will use my favorite criticism and say the dynamics are screwy. Seems like it’s mixed too hot in some places, and it makes chaotic songs like Abhor God sound messy. Still, compared to the last four albums, Ninth has far less filler, with the a above mentioned Gush being the only sore thumb. 

[NightFall 177]

I definitely really agree with your review all round! I loved Falling when it was previewed, and I have to say I'm glad there wasn't much preview for the album like you stated! I really enjoyed it thoroughly, and while I was starting to get a bit bored towards the end, the sudden switch up with UNFINISHED was really nice; it wasn't the best song ever, and not necessarily even a big stand out, but to me it was like they were acknowledging where they came from and I loved that. I agree that その声は脆く was probably my favourite song on first listen, and I'm also really enjoying THE MORTAL.

 

I said it reminds me of multiple albums at once, but I agree with @Shmilly that NINTH should still be credited as it's own era of Gazerock, for much the same reasons as he said.

[Jigsaw9 6783]

I listened to the album a couple of times, but I don't have that much of a desire to revisit it anytime soon.... it's a completely okay album tho. I like how it reminds me a bit more of BEAUTIFUL DEFORMITY's playfulness and not DOGMA's hurrdurr-serious-business tone. It has a more positive aftertaste for me than their previous one overall.

[遠隔-silence- 4]

For me it is somehow their best album since DIM. I didn't like DOGMA as much as I thought I would, since I really do like dark/heavy stuff, but I only listened to it twice.

I listened to NINTH now several times and I feel like it has all the good elements from their previous works, and I think this is what they aimed for.

If you listen to the intro, it has elements from all their album intros from NIL to DOGMA (couldn't find a hint to DISORDER, maybe one of you hears something).

[ghost 2687]

I second @Jigsaw9. Not feeling much excitement post listen. I like the sound of the album, the riffs and compositions are solid, but I don't like the majority of Ruki's melodies. Since Division, I feel like his vocal parts are fitted in haphazardly with no focused melody. It's like the musical equivalent to rambling on and on. He sounds great on NINTH, but, apart from the 2 single tracks, I can barely remember his parts.

 

It's unfortunate because a lot of the album is working really well for me. Although, I think it could have been paced better as it gets slow in the middle. I hate to keep ragging on Ruki, but he dragged this album down for me significantly and it feels like a wasted potential. Man's gotta be consistent. He can't give us a performance like in Falling and then drop like 8 other songs with weak choruses.

Edited June 28, 2018 by ghost

[nullmoon 784]

I've listened to the album daily since it came out and thought it wag pretty good. Popped in Dogma today, knowing that it's just one long song, and still found it more enjoyable? XD 

[Ozileras10 371]

My review of Ninth:

 

So after listening to Ninth for more than 30 times, and listening to some of my favorite songs from Ninth on repeat since the release date. I can say that Ninth is a really great album. At first I found the production kinda muddy(maybe because I've listened to Dogma so much and was kinda used to that type of production), now I don't find it muddy but I would have loved If Josh Wilbur would have mixed the entire album not just the MV version of Falling coz I loved the hell out of that mix. Anyways here's a short review for every song:

 

1. 99.999

A really nostalgic intro, I like how it mixes all intros of their albums. 

 

2. Falling

Loved the song since I first heard it in their official website. I love every bit of it, The riffs, Ruki's voice, the guitar solo, the rythm of the song and the synth is really fitting. Definitely the best song on the album. Although I prefer the MV mix over the Album mix, I'm starting to enjoy the latter as well.

 

3. Ninth Odd Smells

Another favorite on the album. This song is meant to be played live. I listen to it when I wanna get pumped up before studying. I feel like every member shines on this one. Love the heavy parts and the big choruses.

 

4. Gush 

This one is such a headbanger. It's a fun track and I find it really enjoyable.

 

5. The Mortal

This one is more experimental compared to the rest of the album and I think its a lot of people's favorite on the album. It's got a really dark atmosphere surrounding it . I love the basswork, drumming, the riffs, and the electronic elements. But the highlight for me on this song is that big chorus, Ruki does an amazing job in this one

 

6. Utsusemi (虚蜩)

One of the more emotional tracks in the album. You could tell it was composed by Aoi. It's another  standout on the album and I feel like it's a song that deserves a music video. Nothing much to say I just love it from start to finish.

 

7. Sono koe wa moroku (その声は脆く)

Although I didn't enjoy it as much when I heard the Radio uploads on YouTube, it's grown on me a lot. The highlight of the song is the guitar solo.

 

8. Babylon's Taboo

An epic song. Love the industrial elements and It immediately reminded me of Devouring one another. One of my favorite songs on the Album.

 

9. Uragiru bero (裏切る舌 )

It sounds like a better version of Vermin. It's got amazing groovy riffs and Kai is a monster in this one. Such an amazing track.

 

10. Two of a Kind

This track sounds like Depravity and it kinda feels like a lynch. song in some parts. Love the changes between heavy and clean sections. The highlight of this song is the ending part, It's so incredible.

 

11. Abhor god

My least favorite song on the album. I was hoping for a fully metalcore song coz It begins with an awesome metalcore riff but unfortunately it develops into something else. I think this song has the weakest chorus on the whole album. 

 

12. Unfinished

An awesome way to end the album. This song reminded me of Toxic mixed with a little bit of Nil and Stacked Rubbish. It's got an awesome melody and Uruha's guitar solo is so beautiful. Love how it just fades away at the end.

 

 

Ninth  is definitely one of their most consistent album from their whole discography as there's no fillers on the album. However it lacks standout tracks like Deux, Dogma and Ominous. In the end, I think I still prefer Dogma a bit more, but Ninth has definitely become one of my favorite albums from them.

 

 

[Ro plz 1290]

Ima just copy and paste from my twitter:

 

NINTH is the GazettE’s second best post DIM album. It sounds like a compilation of their best b-sides that didn’t make the cut for their precious string of albums. What’s even more awesome is that besides like one song, the album isn’t riddled with the usual cut and paste filler tracks. Even my least fav songs are worth listening to and flow pretty well with the other tracks. With that said, it sounds like either Ruki’s song writing improved and or he let the other members contribute more in the writing process. The songs sound more varied, even though they still have the GazettE sound to em.

 

DOGMA is still the GOAT post DIM album cuz of its cohesiveness and the dark/metalcore feel it has going for it but NINTH is cool cuz it has that balance of Light and dark tracks. This album is def getting endless replays. I’m so happy with how it turned out.

 

9.5/10

[Saishu 1589]

You loved it, you were meh on it, now you love it again. 

 

I don’t believe you dawg. 

[Ro plz 1290]

I needed to sit down (or bike) and like actually listen listen to it bro haha.

 

I jumped the gun way too quick!