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The GazettE - NINTH [REVIEWS THREAD]

Did you bought the album?   

39 members have voted

  1. 2. If you bought the album, which version did you buy?

    • CD only
      11
    • CD+DVD (PV+making)
      0
    • CD+DVD (12,000 yen ver.)
      7
    • CD+BLU-RAY (13,000 yen ver.)
      4
    • Digital version
      9
    • Not yet, I will buy 100% later.
      3
    • Not yet, maybe I will buy later.
      8


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I dunno, I thought The Mortal was pretty fresh for them? But yeah, most of the album is copy-paste. I'm cool with that though as it means it has more longevity than Dogma. I loved that album when it first came out but I struggle to listen to it in its entirety now. 

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It's good; but not great.

 

One of the strange things about the GazettE is their inability -- or unwillingness -- to create a cohesive, solid, album experience that is consistent from start-to-finish. Throughout their career, the GazettE have only been consistent with one thing: mediocrity.

 

Take any of their albums and you'll find a mix of great music with strange forays into all kinds of styles ranging from smooth Jazz and Muzak to pop-punk, and electronica. While a band cannot be faulted for seeking to explore new sounds and styles, criticism is due when it results in an overall product that is lacking in consistency and impact. Without fail, the GazettE is consistent in that trend. Even albums considered among their "best" (NIL and DIM) are packed with the musical equivalent of bumper-to-bumper traffic. Often the albums will start with a strong trio of songs (Nausea & Shudder, Bath Room, Maggots) and then immediately devolve into boring, meandering pop tunes such as Namaatatakai Ame to Zaratsuita Jōnetsu, D.L.N., and Shadow VI II I that grind everything to a halt. 

 

This is a trend that, without fail, you can apply to every GazettE album. Except one.

 

DOGMA (2015) is an album best described as the GazettE's first real, and serious, attempt at consistent songwriting within the Metal style. In the past, we got structurally boring tracks like OGRE, HEADACHE MAN, Before I Decay, and DISCHARGE characterized by their simplistic progressions, structure, and rhythm. These are songs by a band, that you can tell, don't really understand metal because the style was largely unfamiliar to them. Years of refining their craft lead them to DOGMA, and as a result we got the most cohesive and impressive GazettE release to date. Each track fits into that "DOGMA style" and feels like they're part of one unified sound. Even the individual contributions by band members (Deracine, Wasteland, Grudge, Paralysis) fit into the overall sound of the album and don't deviate in anyway that could be perceived as jarring. DOGMA is, without a doubt, the GazettE's best album.

 

So imagine my surprise when the GazettE released a couple singles, and began promoting NINTH. The aesthetic was similar, the band's sound was similar, so I thought we would get a perfect compliment to DOGMA. In some ways we did, in others we didn't.

 

First let me say, I really enjoy the production on this album. DOGMA, despite great songwriting, was mixed in such a way where there's not much low end present in the mix. The bass and drums are largely drowned out by the over-prominence of the guitars. This is why some people here have said NINTH is mixed in a way that it sounds "muddy" -- because the mid-range instruments (guitars) are not has heavily prominent as they were in DOGMA or other releases. For once on a GazettE record, you can feel Kai's strikes on the drums and the low-end crunch of Reita's bass. The guitars are still there; but they're dialed back somewhat, leading to a more even mix that does not overshadow any of the other members.

 

With that said, it appears lightning was unable to strike twice for the GazettE, causing them to fall into composition faux pas that see them pulling from the well of musical gimmicks they seemingly always return to. One of which is Kai's insistence of playing this stale, party rock, pop-esque drum beat that opens the track Uragiru Bero and is played consistently in several other tracks that feel like the GazettE are moving away from a serious Metal sound and towards a combination of DOGMA with a mainstream pop/party vibe. There is also the GazettE musical gimmick of including hand claps to count along to the beat. Hearing this in the intro to the verse of ABHOR GOD, I can picture all of the Japanese girls clapping along and dancing in unison -- which is a strange visual for a song that opens up the way that ABHOR GOD does. And that's part of the problem for me: on an album that has tracks like ABHOR GOD and NINTH ODD SMELL, we're then treated to the designated pop sections and the run-of-the-mill pop punk tunes like UNFINISHED.

 

The GazettE tricked me. I thought when they released DOGMA, it would usher in an age of great songwriting because the band was challenging themselves in ways they hadn't done before. Not only were they trying to write metal tunes, they were trying to write good metal tunesSerious metal tunes. That, apparently, was a one-time thing because the GazettE are back to business as usual. There's a lot that I enjoy about this album: FALLING, NINTH ODD SMELL, Uragiru Bero, and ABHOR GOD include some really stellar moments; but then you realize you're listening to an album by the GazettE, and I feel like the band suddenly realized it as well.

 

 

 

 

7/10

 

Edited by geist

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I took you up on that offer and I still hear no muddiness . If I want, I can pick out any instrument and follow along almost effortlessly in TWO OF A KIND. There are moments when fuzzy synth comes in and out and that masks more sibilant sounds like the cymbals, but I don't hear muddiness. What qualities are you all referring to when you say muddy?

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I can’t call Ninth muddy anymore after spending time with a CD copy of it, but I do notice that the mix varies across several songs. Utsusemi is way too fuzzy, and maybe that was intentional, but I’d like more oomph behind it. Some of the heavier tracks also sound really compressed to my ears. 

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disappointed. the whole album is boring to me, nothing new nothing interesting nothing impact.  everything is so formulaic, i've hear the same breakdown and melody for million times. a random metal band can do better than this. i expected more from them. maybe i just lost my interested in vk band. 

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On 6/28/2018 at 6:42 PM, Zeus said:

I took you up on that offer and I still hear no muddiness . If I want, I can pick out any instrument and follow along almost effortlessly in TWO OF A KIND. There are moments when fuzzy synth comes in and out and that masks more sibilant sounds like the cymbals, but I don't hear muddiness. What qualities are you all referring to when you say muddy?

 

I think muddy is not the best term to describe it.

 

Are you familiar with what people calls Loudness War? It's the idea that modern producers try to make everything so loud that it end up compressing it up and making every instrument sounds like one giant thing. The drums and bass gets heavily compressed and lose their "punch". Using TWO OF A KIND as an example, the bass is so drowned, it sounds so flat that if you remove it in the mixing table, I'm pretty sure most people wouldn't even notice. Yeah, you can find it in the whole song, but that's not how a bassline should fulfill it's role in a song, neither how it should sound... Even the cymbals you mentioned, Kai is banging it like a motherfucker, and compared to everything else, it barely shows up.

 

Of course it's not gazette exclusivity, it may even be intentional, as it is a modern thing, but it's certainly there

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On 6/30/2018 at 2:44 AM, chemicalpictures said:

 

I think muddy is not the best term to describe it.

 

Are you familiar with what people calls Loudness War? It's the idea that modern producers try to make everything so loud that it end up compressing it up and making every instrument sounds like one giant thing. The drums and bass gets heavily compressed and lose their "punch". Using TWO OF A KIND as an example, the bass is so drowned, it sounds so flat that if you remove it in the mixing table, I'm pretty sure most people wouldn't even notice. Yeah, you can find it in the whole song, but that's not how a bassline should fulfill it's role in a song, neither how it should sound... Even the cymbals you mentioned, Kai is banging it like a motherfucker, and compared to everything else, it barely shows up.

 

Of course it's not gazette exclusivity, it may even be intentional, as it is a modern thing, but it's certainly there


The loudness I do hear. When I was doing comparisons, I was using DIVISION as my reference album and it struck me how much louder NINTH was. I would be willing to give people that criticism because its true, but it hasn't affected my enjoyment of the album any.

 

On 7/9/2018 at 9:34 AM, masa0922 said:

Where would you put this album in a ranking with DIM and Stacked Rubbish?


Probably on par with DIM, definitely above Stacked Rubbish.

 

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to make it pretty short and simple...

LOVE THE ALBUM! its heavier than i expected it to be and Rukis voice is just amazing. the only problem i had with my first listen was that imo the transition from the bridge to the chorus in UNFINISHED felt quite bad but after like 8-10 listens i got totally behind this now.

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I like the fact that reita Bass Can be heard again. But for the rest of the production DOGMA sounded better, it's Like more detailed sound.

 

I read an interview, it seems like Uruha mixed 3 songs on this album.

Edited by Kirito

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{Probably listened to it over 100 times by now}

 

I think it's a pretty good album all around. Am I the only one who tinks this is their heaviest? Not as moody/sludgy as DOGMA but the breakdowns hit HARD... Also, is it just me or is this album almost unbearably loud? Iliterally cannot go past 50% volume on my crappy Razer headphones

Edited by JamesR

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yes it's very loud. It's one of the reason there is no dynamic and sound a bit flat. It's hard to make a dynamic song and crush it so loud during mastering

Edited by Kirito

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