Pretsy

So many sour overreactions over new Paramore (not surprised about OP tbqh). It's about damn time these mid-late 00s teenagers were about to do something else outside of their box of angst rallies. This may be the kind of logical step forward in the mainstream pop/rock scene if we consider earlier pop records like CRJ's EMOTION etc.
 
Arca seems to be a grower in light of how I initially deemed his previous shots to be too just carbon takes on Autechre and alike. My relation to anything Mac Demarco, especially his new jams, should be given already - I am the elevator muzak guy so I digest pretty much anything he shoots out lol.
 
Oh, and Death Grips too - I have "meme stuff" catalogued too whenever I want to have something funny but fascinating bang anthems, and they were there to offer "Steroids" EP and kill my earsight for good...okay I kid, I dug it somehow. Why such skepticism?
 
 
2017 could be the final nail in my coffin of metal amusement so whether it is something akin to new Full of Hell or even noisier, I might not be signing up anymore. 
 
Might as well admit after a couple of years that I am not really enjoying these bemusing political palettes in musical expression anymore - are they really that serious about replacing *depth* of their material with such pretentious garbage? What are even music and lyrics together at this point? Spare me your futile microaggressions, ffs.

Not sure how "The Marrow of a Bone" can be a sore release compared to other 2007 releases when that album is basically
 
Other than that, 
 
1) Tokyo Jihen - Variety
For the same reasons as stated by OP.
 
2) LTS - Inspiration is DEAD
For the same reasons...
 
3) L'Arc~en~Ciel - KISS
The best post-2000s album by them - consistent delivery, less fillers, and so on.
 
4) Coaltar of the Deepers - Yukari Telepath
"This is basically a Deftones album with stronger melody writing, lyrics, and variety of sound..."
 
5) Susumu Hirasawa - Paprika OST
Kaleidoscopic ear candy.
 
6) Cornelius - Sensuous
Not the first Cornelius album I would mention, but still an ear candy!
 
7) Midori - Second
"There are moments when the piano rams into hipswinging lockstep with the guitars as the vocals find the right balance of seduction and sneer and then you have to dance like an idiot while watering the lawn with your right shoulder to the place where sunset will be and a vague unease sitting light and sour on your nerves..."
 
8 ) Kashiwa Daisuke - Program Music I
Elegant electroclassical glitch record by the big man himself.
 
9) Melt-Banana - Bambi's Dilemma
Just another good ol' MB album with the same kind of personality as with Cell-Scape or Fetch
 
10) Boom Boom Satellites - Exposed
One of the most unique genre-hybrid albums
 
 

I need this so badly.
 
The title DOPING ZONE kinda sounds like DOZING GREEN.
 
Edit: VULGAR demos? WTFFFFFFFFFFFFFFJWANHbFJKFJNfFDM<FMAALCNs⌂L5@54◘4ã8ÞF¼J«↔¨////

Myaku and [KR]Cube have extended intros/outros
Child Prey's Vulgar Version has different EQ levels for guitars and Kyo screams "The reasons why one can't laugh..." part instead of speaking through walkie-talkie/megaphone filtering (single version)
Embryo's single version has different lyrics
Ryoujoku no Ame's single version feels much more one take-ier, has WtD mixing enabled and Kyo falsettoing during the climax part instead of mumbling (TMOAB version)
Lotus' single version is much muddier and does not push Toshiya to the front.
 
 

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.

The YouTube video is legit. Several songs still in their demo forms leaked around the same time the band was touring the US and Hot Topic was selling the zombie pirate t-shirt and their Warcon albums in 2006. Conceived Sorrow and The Fatal Believer were two that I remember leaked. 
 
I have a backup thumbdrive somewhere that has all the demos. 
 
I also have a backup CD that has Vulgar demos too. 
 
I’ve moved so many times that I’ve probably lost them somewhere. HOWEVER Im pretty sure I posted about TMOAB demos and rumors on my LJ. 
 
Im going to log in and see what all I can find and I’ll post back. 

So were the most dedicated Dir translators capable to decipher the meaning of new Karma and Kiri to Mayu if their original versions had more straightforward, explicit lyrics? 
 
THE IIID EMPIRE and Beautiful Dirt were quite useless to rerecord, since they only expose more flaws in a way how Diru delivers their older songs nowadays. God forbid Kyo would consider adding flat falsettos when they are not needed!
 
Fukai on the other hand was kind of necessary due to fans requesting the studio take of CoV version for years, but the original is still there and it flows better if anything.
 
How impressive of them to include superior single versions of their A-sides instead though. 
I wish I could see the actual voting results conducted by Firewall div. to see which B-sides were favored the most.
 
 

One new song was played during DSS tour, other during Kisou tour

The title of the gig was:
 
本当にこれでいいんですね　ハイ　あなたは何人目ですか　一人目です　僕は数え切れない子供を殺しています　あなたは許せますか
・・・・・もう一度聞きます　本当にこれでいいんですね　ハイ　用意はいいですか　ハイ　では始めましょう
 
And the date was: 12月18日　大阪城ホール
 
You could just look at their OHP for this information, all tour titles are displayed there. Not sure where the idea that it should be in English came from.
 
 

"Welcome to the world of truth" and that older tour "That's where the truth is". They really like tour names that sound like tag lines from yoghurt commercials. 

@blacktooth 真世界 could actually mean "The Real World" (yes, just like that MTV series) if you understood the meaning behind it's on'yomi pronunciation - "Shinsekai" (derived indirectly from "Zhenshijie" which is how one could read the same kanjis/hanzis in Chinese). The fun part here is that this seems to be a wordplay on 新世界 which is also "Shinsekai", and which respectively means "The New World".
 
@LIDLI don't think Dir would feel like touring nonstop with the same run of songs to be played, since they do already have a share of new songs performed and a lot already recorded and mixed inbetween, no? They need a new "theme" to roll with, which should mean a new album on the shelves sooner or later.
 
EDIT: the first batch of dates has been released on their OHP
 
 
 
 
 

Pink Killer is basically the VK parody of St. Anger before St. Anger came into existence.
 
I don't care whether the extreme level of obnoxiousness was intentional here but the aural offense that die-hard fans call "raw" will definitely piss off anyone who's at least a bit of legitly concerned fan of music or a self-respecting musician.

What happened to @Asakusaalso happened to me with older android speakers when they filtered out Die's harmonic flicka-flickas during certain Vulgar tracks, like Drain Away's bridge part. Die plays that guitar intro on THE IIID, which pretty much confirms my previous observations.
 
I guess mixers intentionally put Die below the mid-range frequencies while handling his guitar parts, since this does not happen to Toshiya's basslines which are audible in both cases.

Someone brought this up from another board with regards to Phenomenon:
 
 
But Diru will never become another NIN though, no?

Someone brought this up from another board with regards to Phenomenon:
 
 
But Diru will never become another NIN though, no?

Myaku and [KR]Cube have extended intros/outros
Child Prey's Vulgar Version has different EQ levels for guitars and Kyo screams "The reasons why one can't laugh..." part instead of speaking through walkie-talkie/megaphone filtering (single version)
Embryo's single version has different lyrics
Ryoujoku no Ame's single version feels much more one take-ier, has WtD mixing enabled and Kyo falsettoing during the climax part instead of mumbling (TMOAB version)
Lotus' single version is much muddier and does not push Toshiya to the front.
 
 

^It's just a best-of album though? I don't think you cared much about DECADE albums before either, no?
 
Remakes sucked, but certain remasters at least sounded better the more listens they were given. They will not replace the album playthroughs necessarily, but it's quite fascinating to see whether there's more to this than just another easy cashgrab.
 
Who knows whether the next album is going to follow suit here and have a whole new approach in mixing and mastering, unlike DSS and ARCHE which had this muddy sound hindering the quality throughout. Did we also mention that Kyo seemed to revert back to his WtD-TMOAB half-screaming vocals?

Pink Killer is basically the VK parody of St. Anger before St. Anger came into existence.
 
I don't care whether the extreme level of obnoxiousness was intentional here but the aural offense that die-hard fans call "raw" will definitely piss off anyone who's at least a bit of legitly concerned fan of music or a self-respecting musician.

I don't know Japanese either but based on liner notes on my Gauze copy, they had a hefty lot of recording locations mentioned, and those studios were not just some random petty shacks but more or less VIP kind of spots - booked by Yoshiki himself of course.
 
So it is easy to say that GAUZE is both their best-selling AND their most expensive album to date. On the other hand, MOAB seemed to be the album that had a very rapid process and only the band themselves involved instead of additional staff, since they were always on the road during their tours and had no time to find a staple spot with all the extras necessary. So is it safe to bet that MOAB might be their least expensive album due to aforementioned factors?
 
MOAB is their cleanest production to date though - more than just a step up from what WtD was, and slightly better than what Uroboros was with its mushiness.

Pink Killer is basically the VK parody of St. Anger before St. Anger came into existence.
 
I don't care whether the extreme level of obnoxiousness was intentional here but the aural offense that die-hard fans call "raw" will definitely piss off anyone who's at least a bit of legitly concerned fan of music or a self-respecting musician.

Give TMOAB another chance if you still happen to think of 'black wall of noise'.
 
I understand people to whom this is not their cup of tea, but we cannot deny that instruments sound a lot punchier and "freer" here than elsewhere. To compare it to Kisou, however, is fascinating though. Kisou had quite shitty guitars and questionable EQ levels near the end which was not the thing on TMOAB - Pink Killer, to name one example.
 
Experimentation or what people call "diversity", though, is not their forte and I fail to understand why people love MACABRE or UROBOROS so much. Especially the latter was not that novel of an approach from their usual delivery.

Japanese Diru fans sharing our sentiments on single and album mixes?
 
I could imagine there are like dozens of boards on Japanese internet like ours with similar, exquisite tastes.
 
Do Japanese fans complain about mixing/mastering issues over there too?

Now we have reached the point where Kyopera is off-key EVEN IN THE STUDIO!
 
This is the musical definition of Kyo "Spank and Spank"-ing the monkey for sure. This is nothing more but an unnecessary wank.
 
Kaisan please.
 

Japanese Diru fans sharing our sentiments on single and album mixes?
 
I could imagine there are like dozens of boards on Japanese internet like ours with similar, exquisite tastes.
 
Do Japanese fans complain about mixing/mastering issues over there too?

What happened to @Asakusaalso happened to me with older android speakers when they filtered out Die's harmonic flicka-flickas during certain Vulgar tracks, like Drain Away's bridge part. Die plays that guitar intro on THE IIID, which pretty much confirms my previous observations.
 
I guess mixers intentionally put Die below the mid-range frequencies while handling his guitar parts, since this does not happen to Toshiya's basslines which are audible in both cases.