Pretsy

@WhirlingBlackokay sir, then at least respond to complaints.

1 hour ago, geist said:

Easy with the inferiority complex, sweetie, you’re embarrassing yourself. I never said my statements triggered people. Let’s not forget: you started pissing and moaning because one person on the internet said they liked a song. 

 

...

Ruh-roh. You are just a broken record right now. "If you tell a lie big enough and keep repeating it, people will eventually come to believe it"? Is that your motto?

1 hour ago, Saishu said:

How in the world is Tousei anything like Kodou? The usage of a wah pedal?

49 minutes ago, Seelentau said:

So many statements, so little sources.

I never said that relation to Kodou was purely factual or based on a specific source. I just recalled that Dir en classic once I started to notice similar wah-wah soloing being prominent on Tousei during the intro and its climax. Not that many songs by Diru except for maybe AMBER for a slight moment had that much of wah-wah. Add a few C# riffs picked by Die into the same list too.

But that doesn't mean they rehashed Kodou though, nope. I don't have to look for a specific Haiiro no Ginka issue to prove that my speculations are just speculations just like how you guys feel about Diru songs in overall.

I mean, you guys did connect Revelation to Saku on a composition level and not just based on PVs being sequels/prequels to each other before I joined in, right? What if that was not the case according to its composers? What if we are just fans with no prior, fail-proof information, but only with enthusiasm to find out more about our joys?

Oh wait, there's no "we" according to Diru fanbase. My bad.

17 hours ago, geist said:

Which legitimately no one said. I don’t know why The Inferno, or new Dir en grey material in general, triggers you as much as it does. 

 

It literally set you off into being a passive aggressive asshole out of nowhere when I commented on how much I enjoy the song. 

 

I get it, you’re upset I corrected you in our conversation a few days ago and this was your chance to get back at me, but please try to act less petty, ESPECIALLY when you evidently don’t know a single thing about music and the only term you remotely know is “motif” to make up for your lack of musical vocabulary. 

Why is it that you insist on someone getting triggered over your statements? Were I passive aggressive for questioning your negative attitude towards people not really giving a damn about bazillion dorky-titled subgenres? You seem to love it so much to the point where you are eager invent some petty strawmen and even pettier claims that you "corrected" something as if you were some kind of Allmusic-tier critic authority knowing DEG or genres they play to the very core.

Here, a stock representation of your forum self:

@WhirlingBlackit might be your job to finish this shitfest instead of liking posts and letting this thread sink into Fukkatsu cesspool. 

Now to the topic:

18 hours ago, Saishu said:

A motif? So you think DEG’s intent was to make a call back to Gaika? Seems as big as a stretch as the theory that Utafumi is a lyrical sequel to The Final. 

Maybe, maybe not. The band did not disclose what exactly they meant by "Origins" per Arche's meaning so we are free to speculate anything we want, no? People would for instance recall "Disabled Complexes" or "Toguro" when listening to "Phenomenon", which might have been plausible sources of inspiration during their songwriting process. Or "Tousei" being the "Kodou" of the album. Some throwbacks succeeded, some could not hold a candle to their possible sources of inspiration, was what I tried to say. "The Inferno" being the example of the latter, in case someone missed the point. Diru can do much better than that.

I really wish the band would retell the songwriting process of each ARCHE song one day like they did with TMOAB, but that would not happen since they have to keep their mystery band cred intact.

13 hours ago, Saishu said:

Two outros that are at a slower tempo than the rest of the song, and they both come after a break in the music. That’s... where the similarities end, really.  And what does it matter? 

Maybe there's something more to that than just the tempo and its placement? Maybe that is exactly what motif is about rather than just notes that grumpy mr. Know-It-All a few posts back tried to tackle?

Whatever. Just that people find "The Inferno" somehow groundbreaking and novel per their repertoire amuses me the most.

Yawn.

You do know that "Alternative" exists there for a reason, right? The band never had any word on their style, so it's just a blank slate, and there is no higher will deciding that they could fit into one specific label just because. I mentioned (hard) rock because their earlier, more palatable repertoire still affects what they are doing to this day. We are not talking about separate entities, but about the same band. Maybe it might not be specifically hard rock as older generations understand it, but maybe an "alternative" rendition just like what you Americans endorsed back when MTV TRL mattered.

I am gonna put a full stop to this irrelevant subtopic.

Eat a snickers or  ---> https://www.last.fm/music/DIR+EN+GREY

1 hour ago, geist said:

If you think the outros to gaika and Inferno sound anything alike, I suggest you get your ears checked because you might be tone deaf. 

 

And yes, Dir en grey is a metal band. I don’t see how that is remotely in dispute. Perhaps that’s tied to being tone deaf? 

 

Though this IS coming from the same person who didn’t know “Djent” started with Meshuggah, sooo.....

 

👌

So them being a metal band is a statement carved in stone? Color me and many others interested in this detail rather than in dorky alt-right subgenres that you endorse.

I don't even like metal, but I still know there's a long way to go for these guys to become a legit metal band in the flesh. They could fit their influences as much as they wish, although no matter what, they are about as metal as At the Drive-in, if anything.

Wanna consult Boo since he may know a bit better about other (heavier) bands he befriended and Diru too? I have yet to see Japanese critics titling them PUROGUDESSUMETARUBANDO.

Also +1 for not noticing the same outro motif of those two aforementioned songs. 

All those three songs are filler tracks though.

:^) 

Nothing mature on "The Inferno" in having quite lazy A-tuning riffs, Kyo struggling to choose his screaming technique, and outro aping what Gaika was near the end:

Diru was never meant to be a metal band! Whoever thinks they should be metal: the band never went to admit that they ARE metal, right?

Okay, so we don't talk about their change to vk looks anymore? How boring.

I mean, c'mon:

So did they decide to do this after regaining their older fans? Or perhaps attempting to attract newer bands? Or is it just the band longing for their VK past?

Yup, I don't know what was the point of that either.

Let's discuss:

Did anyone of you guys expect Diru to revert back to their visual/almost androgynous aesthetics after DUM SPIRO SPERO? Looking back, I noticed that even a huge bunch of fans here did not foresee these guys giving up on embracing more American-friendly looks after something so serious that was their 2007-2012 era. Is this a thing among all legendary, "formerly" visual-oriented bands right now? MUCC is doing this too, LUNA SEA is doing it too as of lately, BUCK-TICK too, and so on.

51 minutes ago, Saishu said:

That song is hardly a showcase for flexing one’s vocal muscle. Die sounds fine, but there isn’t much range there. 

He could work fine with middle range vocal parts that most Diru songs provide? Unraveling as an example of my point requires someone to deal with those middle-range sections so that Kyo could carry on with meow-meowing his bridge lyrics.

But hey, do you really think Kyo alone there would somehow represent Diru well if we allow him to struggle while performing his bazillion vocal tracks and messing up as a result? Mind that aside from some band assistance he still needs a vocal coach, since he is prone to ruining his own cords again. Tatsurou from MUCC went through such process and look at him now: he knows when it is okay to go for highs and back to lows and so on. Why couldn't Kyo do that?

I really hope I will not be bombarded by angry remarks from some dedicated fans if I mention "Kyo" and "vocal coach" in one sentence. Really unpopular opinion, but it is their only opportunity to prove Kyo's worth here.

I'll be amazed the day Kyo realizes Die can also back him up if needed for those doubled vocal parts.

To think that even someone who's not really used to singing like Die could have more stamina for such activities than Kyo! And he's not bad either.

18 minutes ago, Dudemanguy said:

 

Revelation's chorus unmemorable? Now hold on a second there....

It's not something that clicks in the same way like any other classic Diru song does. So yes, it is not memorable at all and you could ask anyone else outside of last.fm, fukkatsu or MH to memorize the song and all they could do is just air-guitar their way through that intro instead.

I could barely hum the chorus  and I have spun Arche for like 5-10 times in a row on almost regular basis when it came out.

PS. they also need to come up with actually creative choruses.

Revelation, Utafumi, Un deux and all of those latest "A-sides" had only memorable intros and nothing from hooks nor choruses. 

What happened? [2]

Kyo's vocal abilities degraded to the level of early 2008 though. His grunts are as unprofessional as they were back then, and he manages to lose some of his voice halfway through even after performing less challenging songs - Undecided ,embryo, and the list goes on.*

They need to make less songs like Utafumi and more of those that Kyo himself can perform. Dum Spiro Spero phase of songwriting might not be over yet based on that aspect alone.

*Just to prove that I am not talking out of my arse:

What happened?

That is not how you pronounce "REMEMBER THE URGE"

Chijou was quite dull and CLEVER MONKEY was one of their most embarrassing efforts ever. I don't get all the hate over FADELESS B-sides like "Forbidden Beaver", which in spite of its title was a neat no-joke-legit-song. And AOI song to say the least!

Quote

03.エクジスタンシアリスム (ecstacy cialisum)

Correct transliteration would be "Existentialisme", which is Existentialism in French. Yes, Existentialism is エグジステンシャリズム but knowing Plastic Tree, they opted the classical variant of that word.

16 hours ago, Seelentau said:

Oh and the name is Ranshishoku, not Ai Murasakiiro^^

 

@WhirlingBlackhad this nice post to back it up:

Quote

This has been a long process for me, I've been working on it for years, but I managed to find an obscure old magazine clipping in an auction which I bought some years back but never got onto reading properly ("Groove Line vol-29" from December 1998) where a setlist is posted which gives the name as Ranshishoku.

 

I actually took the liberty of scanning it just so we can get rid of all doubt on the subject. 

 

https://dl.dropboxusercontent.com/u/62973737/ranshishoku.jpg

 

If you look at the setlist in the lower left corner, you can notice that track nr.6, is actually given half in katakana as "ランシ色" either because the band wasn't sure on how they wanted to spell it at the time, or because they wanted to make clear the pronunciation. Notice how Mazohyst also is spelled in katakana since this was before the release of the track.

Now, the interesting thing is of course, that the kanji is exactly the same. A lot of kanji have two or more readings, and in this particular case, 藍紫色 can be read in kun'yomi, the "traditional Japanese" pronunciation, as Ai Murasaki Iro.

However, when read as on'yomi, which is essentially pronunciation  originally borrowed from China, the same three kanji reads out "Ranshishoku".

 

And while I cannot provide a source for this, I know for a fact that Kyo also presented the song as Ranshishoku during the 1998 tour.

 

These two evidence put together really left no doubt in my mind what the proper pronunciation of the title is, and thus I decided to make my research public.

 

And as a side note, hopefully this can also help anyone who still believes that "Karma" should be pronounced as "Waza"...

Also, mixed colors are RARELY (read: NEVER) read in kun'yomi. In this case it is Ranshishoku that means "Deep Indigo" and not "Ai Murasaki Iro" that means "Blue Purple Color".

I  never heard Diru calling 業 as "Gō" nor "Waza" though...

3 hours ago, Zeus said:

I had heard a different explanation for the meaning of [KR]cube, but I cannot find the page now. Basically, Kyo wanted to originally name the track "crazy crazy crazy" and the other band members (I think Kaoru) was like "no", so then he changed it to [KR]cube.  If I can find it again, I will post it here, but it's been a few years so no promises. It didn't seem to make much sense to me, and the "kururi" explanation is also a good one too.

 

Also, is Re:birth an old song or a new song? Title looks too visual kei to me monkaS

At this point only a few things could be considered to be plausible here:

1) [KR]Cube obviously had a much simpler working title, which might have been mentioned in the song lyrics (Kururi being repeated along with other onomatopeias and so on). Knowing Diru, they never give working titles that are too far off from what the song holds within. "Third Time Does the Trick" as a case in point, which was the working title for "STUCK MAN".

This 2ch site says something about UROBOROS working titles, and apparently someone caught those titles from accommodating DVD?

http://mimizun.com/log/2ch/visualb/1227626553/

Quote

Glass skin→推定無罪
Stuck man→ピカソの遺言,Third time does the trick
Inconvenient ideal→審判の日
Bugaboo→色即是空

 

1

And based on https://2ch.vet/re_toro_visualb_1506827114_2_2000

(Is Dir en grey wikia a part of your doing @Seelentau? You seemed to notice these titles if it is yours),

Quote

1.囁きの名  -> SA BIR
2.ダブリンからの知らせ  -> VINUSHKA
3.悟 -> RED SOIL
4.Get away -> DOUKOKU TO SARINU
5.Rumours -> TOGURO
6.推定無罪 -> GLASS SKIN
7.ピカソの遺言（Third time does the trick）-> STUCK MAN
8.終幕砂と導く場所へ始まる夢（Thunder Mountain）-> REIKETSU NARISEBA
9.我、闇とて... -> WARE, YAMI TOTE...
10.BUGABOO -> BUGABOO
11.色即是空 -> GAIKA, CHINMOKU GA NEMURU KORO
12.DOZING GREEN -> DOZING GREEN (which was written around the time TMOAB was made)
13.審判の日 -> INCONVENIENT IDEAL

2

Even if some of these do sound kinda faux, my point still stands.

2) I have seen people calling this song "Kryptonite Cube" which makes even less sense even if "Kr" is indeed an abbreviation for this chemical element. There is no reference to cubes in the song either, so "Cube" might as well mean the power of three, or something that is threefold.

3) They needed a VK-sounding title anyway. They do love their special characters, brackets, apostrophes and that kind of formatting, right?

EDIT:

7 hours ago, Ozileras10 said:

How are their A-sides lately trash?

Ugly was one of the best A-side they ever released 

undying was pretty good too.

They are far away from holding a candle to their earlier efforts. Just because you become heavy, dark and shit does not make your efforts that of top notch quality.  Mind that GazettE has solidified their base as a hard rock band in the past rather than as a legit metal band with respective qualities. You'd at least bother to read previous statements provided by others to get some insight on the actual opinion of the masses.

Have you ever wondered that why the most popular and loved GazettE bops have not been filled with kvlt/br00tal mess? Because people, including most of us, love them when they know and demonstrate the value of melodic, catchy and cohesive hard rock-oriented songwriting. The aforementioned br00tal mess is not up fans' nor GazettE's alley, I tell you.

4 hours ago, Nagisa said:

I thought the consensus was that OMINOUS was one of the best tracks in the album, hence the early release.

Depends on whom you are asking. Were Japanese fans involved in this case?

What if they also want to listen to something that is not a Chizuru template? Like, newer ideas that just sit together in harmony?

CODA off the previous album was close enough to being something they have not done before with finales, but it ain't enough!

They also need to open their ears and eyes to see that there is something really wrong about their B-sides being almost stellar while A-sides as of lately tend to be trash instead.

I like Rain

DOGMA is an assemblage of half-baked ideas.

I mean, listen to "DEUX" or "OMINOUS" and try to tell non-fans that they did not neglect cohesive songwriting at all, and that they know exactly what they are doing with sudden transitions. How many different songs did they lump into these tracks again?

One problem here is that we actually never hear the band saying those titles or at least explaining them out loud (more than just seldom), so it is hard to tell which pronunciation is correct, what are the origins and for what reason. Like, do you guys remember this ARCHE case from a few years back? Was it Archie? ARUKEEH? Ar-HEE? AR-HEH? ARKEH?

I could care less whether Kyo did have something in his mind about European countries or Russia while penning that song, but what puzzles me is the way how these things are supposed to connect and for what purpose? My GAUZE copy only does this with the first track (after intro) and track ordering, and there is no book-ending song with titles, lyrics or any other literary allusions in German? Shouldn't MACABRE follow this suit then? Why would they book-end the album before the most sensitive ballads of that record?

There are mags about GAUZE songwriting all over the place, a bit less but as much about Kisou too, but Macabre has been always under-reported with regards to how it was written or how its songs were debuted for the very first time. God knows whatever that album was supposed to be according to Diru.

岡野ハジメ or Hajime Okano mentioned here has produced and arranged some of the best J-rock albums* to date, and his instrumental input too is worth all the praise.

*D's Genetic World, 7th Rose,

L'Arc-en-Ciel's Awake, Mucc's Shion and Houyoku, Creature Creature's Inferno, and even Dead End's Shambara and so on

https://www.discogs.com/artist/493113-Hajime-Okano?filter_anv=0&type=Credits

I am not too big on D nor ASAGI anymore, but I do believe that these guest inputs make a very huge and important difference here. So I take my comments above back and refrain from scepticism. 

http://heresiarchy.tumblr.com/post/46519794210/the-gazette-song-composers

If we buy into translations of this person, RUKI did compose a lot of gems during their better days. Fucking Nakigahara, fucking Nausea & Shudder, fucking Hyena...

What happened?

If anything, Uruha and RUKI should be barred from songwriting and AOI should be the sole songwriter now.