They just pit up a bunch of stuff in the US. They added Gauze and Missa, the Decade Compilation album, and a bunch of singles!!!
It’s about damn time
finally
A kind person on facebook put together this complete list of DEG songs available on spotify:
https://open.spotify.com/playlist/5aDo3UPTCRNwxUvNmdutv1
And I was thinking, maybe it would be worth comparing which songs are unplayable, for you?
I’m in Germany, and the following songs are unplayable for me:
- THE FINAL - complete single
- CLEVER SLEAZOID - all three live B-sides
- Ryojoku no Ame - all three live B-sides
- DOZING GREEN - complete single
- GLASS SKIN - complete single
- Hageshisa~ - Shokubeni (Shot In One Take)
- LOTUS - Reiketsu Nariseba [LIVE]
- Utafumi - both B-sides
Additionally, a lot of title tracks from singles were replaced by album/VOS versions.
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I figured that was more tour dates to come
Yeah I would be surprised if what Sukekiyo is teasing is anything of substance
Looks like I’m only one who’s thrilled by The Perfume of Sins snippet. After all those years, they finally wrote a song that could be on DSS with a modern deathcore approach. Can’t wait to hear the full ver.
About the other songs, well, there ain’t a lot of things I personaly am excited about. I guess DEG, particularly Kyo, won’t work on me anymore. I def can’t stand his lyrical clean vox nor his punkish scratches (盲愛に処す has both, it’s aweful), and Eddie is just another The Inferno with a more raw attitude.
13 could be a Petit Brabancon song, 響 and カムイ could almost be sukekiyo songs, and whatever left of DEG doesn’t grow on me. Everything sounds so generic and blank from them, like they lost everything that made them before. They don’t even try to anymore.
Sorry for the bunch of you all that still follow and like them.
If somebody enjoys the music still, what’s there to be “sorry” about?
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Sorry for being kinda harsh towards them*
I know how DEG can be dividing, so are my words, and I know too that some of their listeners still can’t accept criticism nowadays. I’d love to give details to my position about them, but as I will take years to, well, I took the short way.
If you consider Uroboros - DSS to be their pinnacle musically, and have been wanting them to chase after the feeling that you got from those albums, then I definitely feel you.
DSS to Unraveling era was their highest point to me and I can’t seem to get that itch scratched the way I want it with their recent works. But I understand they can’t do overly technical and aggressive music all the time like they used to, they’ve aged a whole decade since then. So if their path is a dumbed down, “modern” take of their heavy style with also atmospheric ballad or mid tempo songs here and there for example, then so be it, I’m with it. But if it eventually turns into modern dir en grey trying to chase after their heavy days with their current sound, then meh. I’ll still love the band no matter what.
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Yeah, it’s more about the way they were always trying to experiment things like they did in Uroboros/DSS. Even if ARCHE didn’t really work on me, because of the things that still trigger me as I said above (and perhaps because they tried to blend their old sound with their new one, which removes the surprise effect), I could still find the DEG elements that I liked before, and it was quite less unbearable than their last works.
From the few that we’ve got here, PHALARIS is far from a renewal and sounds like a TIW 1.2 (with a slighty better production, thanks god). I totally agree on the fact that they can’t stick to their DSS technical and aggressive style, plus it would be boring as fuck, but I only wish they’d at least try to do something as qualitative and refined.
Kaoru as a composer stucked himself in his comfort zone (thanks to his 7 strings without any technical step up since), Kyo has shown his vocal limits a long time ago, and Shinya doesn’t show any tone to his drumming (what are those freakin drumkit-like empty blastbeats??)
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@Jigsaw I’m in the same boat!
This is sounding more my jam than TIW. I can’t quite put my finger on why just yet, but from what I hear in the samples the song writing sounds tighter and more interesting. TIW’s instrumentals just sounded loud to me with not many memorable riffs or playing.
“Perfume of Sins” and “Utsutsu, Bouga wo Kurau” have piqued my interest.
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Not too impressed by the samples, but then they are just samples after all…
I swear 13 is gonna be the MV, playing it safe.
By the way am I the only one who still thinks Oboro should be like twice the lenght?
For me personally it kind of sucks that all kyo’s other bands are becoming “DEG”. Like that 13 song sound like something that side project with Miya would release.
I am excited, but not super excited. Damn.
No. Oboro does feel weirdly like they did record more but cut it out in editing, does have a weirdly incomplete feel… but i still love what is there tbh so meh.
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The dude has one of the largest vocal ranges in the world right now. Why complain about this of all things?
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lol, funnily enough, I said to a friend just yesterday that I’m kinda embarassed for thinking that Kyo’s vocals were anything special.
I mean, they used to be, but they certainly aren’t that impressive anymore. 90% of the time, he delivers flat screams and constantly sounds out of breath, both in live and studio settings.
it’s no secret that he usually can’t keep up with faster tracks like Utafumi, I noticed this way back in 2016 and it only got worse over time.
Having the largest vocal range doesn’t mean knowing how to use it without being boring. As an extreme metal vocalist, I know better than most of ppl that he just can’t use the same tech he was hurtfully and abusingly using years ago, otherwise he’d have completely lost his voice since, but it became redundant af.
I won’t even speak about how he can’t properly hit his own notes on live. But that’s not only on him. The whole band has shown signs of stagnating. We all know DEG for their abrupt change of sound from album to album. Kyo will always remain one of my main vocal influence for sure, and I’m very glad when I hear that I successfully can simulate his banshee scream that became one of my trademarks within my own band. But that won’t stop me from saying that a lot of new vocalists are less… annoying? Starting by Madmans Esprit’s one who makes better DEG songs that DEG theirselves.
(sorry, it was moved in between)
That’s a thing easily understandable since I personally use a bunch of different screaming techs, from very high to very low, and after 50mns of show I can barely hold my notes. Sure I’m not pro, not coached, but the dude is 46, has completely destroyed his voice years ago during the DSS era. He knows how to modulate his voice to avoid damages on his vocal chords, but yeah, it doesn’t sound THAT good.