oh man, seeing them shoot the PV in front of a greenscreen and nothing else… gives Marvel behind-the-scenes vibes…
isn’t that how they filmed jessica, most of child prey and this fecal gem stone back in the day
this time, the shock value shit feature is AI (and a missed release deadline)
1 Like
I can’t focus on the visual diarrhea, way too many shots of Kyo’s slutty waist
2 Likes
what is slutty waist, precious, what is it?.. it’s their hettest, most sexually repulsive era, to boot.
Title track’s probably going to take some time to grow on me (or not). I do like a good downtempo atmospheric song but this one just isn’t doing much for me at the moment. The whole does not seem greater than the sum of its parts, at least to me.
The B-sides though, now this is podracing!
1 Like
Whoever said TDiM sounds like an extension of TIW is spot on.
1 Like
That’s what makes it so slutty
I haven’t warmed to the title track yet but I love the chorus. I feel like this might work better for me in the context of the next album.
I like the fresh coat of paint on Cage, but less so with Yokan. Overall I feel like I haven’t properly enjoyed a ‘remake’ song since 罪と規制; the latest ones just fall massively short of the original tracks, yet don’t do enough differently to warrant existing in their own right.
I’d rather they just remastered all their oldies at this point. The WtD tracks sounded amazing on VoS, for example.
1 Like
Moderately convinced by this single. The Devil in Me suffers from a lack of inspiration and madness. The guitars and drums sound so poor. Shinya stay in his confort zone as usual. On the other hand the chorus sounds good though and save the song a little. Cage and Yokan have a lack energy compared to the originals. A disappointing single for me.
2 Likes
It certainly revisits the “why was I born wtf I didn’t ask for this” theme that Kyo touched on with TIW.
1 Like
In between brick walled caterwauling, of course.
1 Like
I was thinking today about the track and how my reaction to it was similar to oboro. When I first heard Oboro, I liked it a bit, but I felt like something was missing.
Then the album version came out and added those few seconds of a solo and I was won over.
TDIM feels similar. Like there’s some additional bridge or solo that we’re missing to make the song sound complete.
If it -is- the case that there’s an extended version, I question the decision to wait for an album release to hear it.
2 Likes
No I swear they have always premiered on the release day? is it possible the pv sample got too much backlash and the ai guy is working 24 hours a day now?
Live look at Dir en grey’s Prompt Engineer:
3 Likes
I think the same. They normally have the Promotional Vers. ready to go. Absolutely nothing? They’re doing some last minute touch-ups for sure. Someone look out for the dude with two left arms when the Pepto-Bismol drops.
1 Like
Even when The World of Mercy took ages to complete, we had more than 15 seconds
This single is interesting. I think it made me realize what I’m missing from a modern Dir en grey song. I’ve listened through the single once and I’ve already forgotten how the title track sounds. I can tell you how I felt, but I cannot remember a distinct melody from it.
The chorus came together quite nicely allbeit cut too short. The riffs felt too simple. It kinda worked in creating a steady groove once the middle of the track hit, but during the intro it made the song feel sparse. I’m all for a slow burn track, but I can’t help feel that the instrumental department is incredibly lacking in anything memorable and Kyo is the one doing everything he possibly can to keep things interesting.
Cage and Yokan are inoffensive. They both have a much warmer sound quality that feels comforting to listen to, but the performances all around feel less energetic than the originals. The drums especially sound so hard programmed that it’s distracting how unnatural they sound.
When listening to their latest single juxtaposed to a handful of their earliest singles, the elements that have changed over the years have become much more apparent.
With the last handful of classic remakes, the band has proven they can still pull off pop numbers, but they have become such a serious band. I wish they still embraced this side of their music. Even if they don’t write something as upbeat as Yokan or Cage, another Kodou or even a Clever Sleazoid would be a breath of fresh air. They’ve long since abandoned that sound and adopted more avantegarde or unconventional song writing. I miss when the band used to be more straightforward. A lot of their recent compositions lack a real good hook or riffs that my brain can immortalize for years to come. Taking cage as an example, that song was stuck in my head from the first time I ever heard it back when I was in eighth grade. Especially that bass solo. And listening to it now feels the same.
Remakes can be fun, but this to me just further points out the fact that the band is on a completely different music path than when they first started. It’s great to see they’ve come so far and have been able to achieve success while experimenting with their sound so much. But it’d be refreshing if for at least one album they tried writing a more typical album. Even something like a Withering to Death 2.0: a shorter album with a focus on straightforward song structures, memorable riffs and melodies that flow into each other, and a good mix of heavy and more upbeat songs.
10 Likes
I’m not writing an in-depth review, just wanna echo this opinion cuz I feel 100% the same. I’m more than fine with bands getting weird, experimental or unconventional but when it just sounds like going-nowhere minimalistic nothing-riffs and seemingly aimless vocal lines slapped on at random, that just feels lazy and mechanic to me (e.g. this new song, pretty much). It’s the usual methodical copy-paste songwriting disguised as being “deep”. Like, DSS is one of my favorite DEG albums but I feel like that was the pinnacle of this sort of esoteric style, and in recent years it just feels like I’m listening to a band that’s kinda lost.
Anyway, the re-recordings sounded okay to me, but probably won’t ever listen to them again.
9 Likes
It’s a difficult song. It’s definitely not one to use to introduce someone to deg.
Could it have been an album filler? Is it a grower?
It’s lacking something, some omph, I really can’t put my finger on it. But it feels like something just is missing. They needed like one more element to the chorus to make it more memorable. Just something more.
Hm… I wonder if I’m alone here.
(And is the AI guy fixing the pv or not?)
2 Likes
General consensus seems to be that the chorus is the best part of the song. I think what’s making this song difficult for some people is that it doesn’t ever really open up at any point, not even for the chorus. The closest thing to a hook is the choir style vocal melody in the chorus. There are no distinct guitar riffs or melodies, the song is just conveying a mood.
It’ll probably work better within the context of a full album. It’s an odd choice for a single, but DEG haven’t really been conventional for a while now.
6 Likes