Pretsy

One could care less about otherwise very carefree, condescending attitudes/lifestyles that most of these bandomen exhibit but let's talk about more significant, large-scale effects here - i.e. things that have impacted songwriting/production heavily AND permanently later on.
 
Kisaki is quite obvious but even so, I think Tommy has the most notorious, and notable backstory here if we follow aforementioned criteria. Come to think of it, there is a clear negative association with him in an instant whenever there are label talks with his "foster children", i.e. Dir members or even 12012 until they decided to cut their ties or idk. We might never know how much of illegal shite has been done (e.g. 2007 case) to keep his poster boys relevant in the eyes of Nipponjins and gaijins.
 
Literally the Don Corleone of visual kei - with Kisaki being "lesser evil" per se.
 
And since it's all the rage for us to sneer at rockstars for doing "the hard stuff": Kiyoharu did hard drugs too yet he has tons of dedicated stans and 0% media judgement. Go figure.

I ctrl+F'd this page and it had no Juri (ex-DELUHI)
 
SMH guys. One of the best, least nasal vk-core vocalists right there.

As with my earlier outputs, I thought it would be neat to discuss about "interesting" chord progressions in our beloved, visual scene as well!  What kind of intriguing progressions (from your POV) you guys have stumbled onto while going through your VK repertoire? As long as you are able to explain your choices, it's all OK...not that this thread would gain enough exposure, lol (I am not gonna hop into another round of "what is VK music" debate and just pinpoint that even in 00s and earlier 10s it was easy to acknowledge imho what's  "so VK" and what's "not so VK" in the auditory context.)
 
Prime example or where to start:
 
"Royal road" progression (IV△7→V7→IIIm7→VIm)
VK example of this: as far as I have noticed, Gazette's "Sumire" is pretty much about that kind of progression too, no?
 
 
 

Midori: Jazz/classical piano music lessons gone wrong by courtesy of Japanese schoolgirl "in her flowers" and her punk misfit friends.
 
Fishmans:  S P A C E dub music as interpreted by a stoned guy doing his best dying cat imitations
 
The Pillows: "Hey do you know that Japanese Weezer band from FLCL?"
 
Gesu no Kiwami Otome: emo pop songs about my sidechicks: the soundtrack feat. cutie-patootie drummer
 
Yapoos: imagine if The Pop Group was fronted instead by the kind of unpredictable schoolgirl weirdo, with whom you wouldn't necessarily share the same seat

As with my earlier outputs, I thought it would be neat to discuss about "interesting" chord progressions in our beloved, visual scene as well!  What kind of intriguing progressions (from your POV) you guys have stumbled onto while going through your VK repertoire? As long as you are able to explain your choices, it's all OK...not that this thread would gain enough exposure, lol (I am not gonna hop into another round of "what is VK music" debate and just pinpoint that even in 00s and earlier 10s it was easy to acknowledge imho what's  "so VK" and what's "not so VK" in the auditory context.)
 
Prime example or where to start:
 
"Royal road" progression (IV△7→V7→IIIm7→VIm)
VK example of this: as far as I have noticed, Gazette's "Sumire" is pretty much about that kind of progression too, no?
 
 
 

One of my go-to albums in "Japanese equivalent to Fantomas" should be up your alley as well:
 
Kinda familiar sound if you know a bit about John Zorn's production and  maybe some other kinda-popular zeuhl outfits (does Bondage Fruit ring any bells? You should get familiar with the whole zeuhl genre since it is pretty much "Fantomas-core" - proggier yet similarly noisy)

To provide further examples on why you should seek things you cited in this genre: Tatsuya Yoshida's catalogue (Ruins, Koenjihyakkei etc. etc.) - very abrasive, noisy, at parts might be reminiscent of various acts - even Boris at some small parts.
If you seek Boris-tier sludgy, noisy stuff, consult these Steve Albini-approved noise metal guys:
 
These guys on the other hand are pretty much proto-Boris - the hell, their main Japanese influence I think?
 
I may have seen Aunt Sally and Cali-gari mentioned in the same context due to their frank similarity (well, influence or not, the hell I know), but you may enjoy Aunt Sally too:
 
 

Those titles popped up on 2ch around the time those aforementioned leaks were in talks (August 2006)
 
http://mimizun.com/log/2ch/visualb/1155087647/
 
You could guess already some final titles there since parts of those titles can be found or somehow deducted from their final lyrics. I am quite surprised that they still insisted on starting out with Conceived Sorrow. "Bodaijyu" (meaning "Linden" in Japanese) on the other hand could relate to Namamekashiki's demo version with Shinya's poetry instead of Kyo's rendition, and so on.
 
By reading some of those comments back then, I might as well believe those are legit.

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:
 
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.
 
 

Now we’re at the crux of the issue. Not only are you musically ignorant, you also don’t like the direction the band has gone (*cough* metal *cough*). 
 
Which is fine, you don’t have to like the direction Dir en grey has gone musically; but when you make arguments out of ignorance to inflate the importance of your half-baked opinion, it warrants correction. 
 
Just keep that in mind. Also, please keep your silly American politics out of this thread, thanks. 

I think Kyo’s vocal delivery in that song bugs me more than Shinya’s drumming. 
 
YAAAYAAAAYAAAYAAAAYAAAOOWW
YAAAYAAAYAAAAYAAAAAOWWW
GROOOGROOOOGROOOO
YABBAYABBAYABBAYABBAAAOOWW

Utafumi could have been on Withering to death. It’s more like a Beautiful Dirt 2.0. 

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!

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.

They should just rethink and put those B-side songs as A-sides instead. Ones might disagree but even DOGMA b-sides GODDESS and VACANT had more of this focused songwriting that @ghostmentioned.
 
Some degree of differentiation is required here or else we may not able to tell GazettE from other schlocky alt. metal bands. This is highly important even if we may recognize Ruki right away no matter what they are playing.
 
 

@WhirlingBlackhad this nice post to back it up:
 
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...

Yes, the DEG wiki is my work. The concept titles can be found on various pictures and back in the day on their OHP blog, I think..

This one, for example.
 
Edit: Yes, that one xD

Ugly was cool when it was called What’s Up People lolol
 
Undying is good though. 

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.
 
 

[KR] stands for "Kill Rambo" then. I know it, I have read it from Angelfire shrine bios, and I will buy into it 'cause it sounds truthful 
 
Trust me.

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. 

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. 

They should pick up their punk roots again. Strip down all the ambiance, electronics, dramatic presentation and just give us 50 minutes of raw riffs and focused song writing. Dogma was so full of fluff, I think a deconstruction of their sound would do them some good. 

How could you guys...
 

[KR] stands for "Kill Rambo" then. I know it, I have read it from Angelfire shrine bios, and I will buy into it 'cause it sounds truthful 
 
Trust me.

How could you guys...