i would like to buy the UROBOROS-with the proof in the name of living At Nippon Budokan so my question is…which version have better Audio Quality, DVD or BD?
its funny how different everyones list are but ya i cant deny i just feel like both DSS and Gauze are both legit 10/10s
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Uroboros
Macabre
The Insulated World
Arche
Phalaris
Dum Spiro Spero
Gauze
Kisou
Withering to death
Vulgar
The Marrow of a Bone
Uroboros (remastered)
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My brain is melting with all these different active DeG threads. Only me?
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Too many diru threads going on! Does anyone else hate the new version of AATD? I love the original even though kyo’s vocals annoy me on it but I literally can’t even bear to listen to the new one 
just getting around to watching the live dvd and while i know DSS isnt everyones cup of tea the fact that Kyo still nails songs like Different Sense perfectly is absolutely fucking mind boggling. I know ive seen people mention here and there that Diru cant go back to that style because they cant keep up with anymore but thats just flat out false after watching this performance
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CD2 might have their worst remakes recorded over the past decade, while keeping in mind tsumi to batsu cover exists and that one was the complete fucking shit no one in their right mind would ever ask for
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heyyyy i love the tsumi to batsu remake! but well, i’m a sucker for caveman sounding doom/sludge so maybe that’s the reason i love it and also the mazohyst remake
edit: typo error
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Tsumi to batsu 2011 is great. Fight me irl etcetc.
Agreed that the remakes on this one are pretty poor though. Neither of them do anything for me.
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I cant believe they removed the children choir in AATD
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I expected that since Kaoru is in his “we’re real m3tvl musicians now, we don’t need the gimmicks” mindset*, and he’s the one directing their musical style more or less; Kyo’s lazy improvised lyrics on mazohyst were a huge let down for me, and the horrible horrible horrible cheap Takumi’s synth that he uses in all sukekiyo and Deg recordings now ruined AATD.
I feel like 3/5 of them actually realize how much complexity and artistry their VK era had going on, with Kaoru stuck up on being seen as a trve guitar overlord he acts out, and Toshiya just doesn’t care anymore.
Summary
** which in turn attracts the most insufferable fuckwits to their fanbase, with another l’exemple of what I mean blessing phalaris threads very recently.
- Uroboros
- Dum Spiro Spero
- The Marrow of a Bone
- Phalaris
- Arche
- Vulgar
- Withering to Death
- Gauze
- Kisou
- Macabre
- The Insulated World
From Phalaris:
- Schadenfreude
- 13
- Oboro
- Kamuy
- The Perfume of Sins
- Eddie
- Hibiki
- Otogi
- Utsutsu, Bouga wo Kurau
- Ochita Koto no Aru Sora
- Mouai ni Shosu
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I’m never sure but I think this is my list:
DUM SPIRO SPERO
UROBOS (Remastered & Expanded)
THE MARROW OF A BONE
Withering to death.
PHALARIS
UROBOS
VULGAR
Gauze
ARCHE
The Insulated World
Kisou
MACABRE
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already posted my album rankings but i had a little fun with making a tiermaker for it
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Truly The Marrowest of a Bone album ever made.
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So there’s a Barks interview out with Die:
Several highlights:
-
13 and “Utsutsu…” date back to 2019 (pre-produced around the same time as TWoM)
“Hibiki” and “Eddie” were much later contributions (“old and new are mixed”). They also started writing PHALARIS since 2019 and fun part - they had NO overall, big theme in mind at all. For example, Die’s starting point was just to “create something he had not done before”. -
Die came up with the syncopation/rhythm for “Utsutsu” (it was an “unusual Die song”), and that led to some difficulties with Shinya trying to arrange it.
-
Die admits that PHALARIS is more of “a collection of individual dark songs” than “a big picture” (!!!), and also that “there are some parts that had not been captured as of yet”.
-
All members, incl. Die had been too considerate with Kyo and his liberties regarding whichever melodies and pieces should applied to their “orchestra”. In simple terms, Kyo is so OP that he seems to define where is the “intro”, where is the “verse”, etc.
-
Kyo’s cuts require multiple reworks in compositions because “easy-to-play melodies” would not follow or progress well with his takes.
My Japanese comprehension is rusty so I hope someone else corrects what I highlighted.
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I’m trying to imagine the difficulty, because to me, Shinya’s drumming feels quite natural and like he’s serving the song. In some ways it’s kind of a highlight for me in terms of Shinya’s performances in the last several albums, right up there with Glass Skin for me.
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