so they’re sitting on unreleased album demos, if I understand this part right?
I really love the entire album, which couldn’t be said about TIW, and I barely listen to arche at the moment, but phalaris totally needs another track or two in there to feel complete.
I already want new music from them, which has been my persistent state since the world of mercy, more or less… I really don’t care for petite braconiere that much after this album.
That’s often the case when it comes to the vocals 
I agree, although the tone of Die’s comments gave this impression that Kyo’s role goes way beyond anything standard. I cannot help but think that this only confirms certain doubts most of the fans had when listening to these latest DEG albums, e.g. Kyo carrying their efforts “abit too much”.
That is how I understood it as well. It is quite strange as well that this album had less songs than any other DEG full-length before.
That’s a good thing for me because it’s the first Dir en grey album where I wouldn’t really cut or skip anything.
That album could have been cut to a single with 2 bonus tracks
For sure he is. And that’s always the first disagreement between the composer and the singer. When a guitarist writes his parts, he often has a vocal cutout in mind, which may or not fit his singer’s ideas. Sometimes the singer will follow and pick among the composer’s vocal propositions, sometimes he’ll lay his vocal lines all over but out of the composer’s one.
That’s even worse when the guys don’t even have the same influences. Kyo being Kyo with his weird but genious vocal lines, I’ve always suspected he had the last word on DEG music. Well, until now, it worked more or less like a charm, but I’m one of those who wish we’d have more boys and less Kyo.
Btw, if there are any guitar (tuning) geeks like me out there:
Is it really so that their NATIONAL MEDIA BOYS cover is in 7-string drop C# tuning or is it just something that the uploader thought to make sense? If so, will we ever get to hear Dir getting lower than what they are really used to (ADADGBE)? Warsaw no Gensou’s EBEADGBE was a one-timer but who knows…
I’m glad I’m not the only one that puts Uroboros remastered at the bottom. I can’t stand the sound of it. It’s like they took all the life and uniqueness out of it and tried to make it a DSS clone. Especially with the drums, they removed all the punch.
Tracks like Stuck Man feel so wrong without the St. Anger snare.
This guy puts out incredible content.
Thanks for watching my video!
Why I scored NATIONAL MEDIA BOYS in this tuning
I can answer in detail if you ask me in the comment section of YouTube or on Twitter.
→ @rpg_96
is what he says 
WAIT, TAU, THOSE ARE YOUR VIDEOS?!
I KNEEL!
Edit: misread, plz continue!
lol I wish, I know nothing about music
but I’ve known this dude for some years and he asked me to relay that message to you guys
I used to prefer the Remastered version of Uroboros, but now there’s something about the trashiness of the original version of the album that I love to death. It’s not clean, it’s not pretty, it’s raw and grimy and dirty and it matches the mood of the album really well for me. There’s also just a much thicker, meatier tone to Toshiya’s bass on the original that got subdued way too much on the remaster.
Then there’s that one tom Shinya rides on in the soft break in Vinushka. On the remaster there is just SO MUCH resonance and sustain to that tom that it just kinda floats over the entire mix in an unpleasant way to me.
Long have i enjoyed OG Uro, so seeing this comment sent me over the moon.
Thanks alot @seelentau for that quote. So the possibility of them going lower than A again is higher than imagined indeed.
Maybe one day Kaoru and Die will become djentlemen and do 9-string guitars like their indirect American senpais Deftones.
I get that they weren’t completely satisfied with the way Uroboros turned out because it was done so quickly, but getting Tue Madsen to just sterilize the entire thing was a bad idea. He couldn’t find any better drum samples to use? Why would he remove all the texture from Toshiya’s bass tone?
Eff that guy.
It’s always weird to me how much the remaster irks me, Because Tue isn’t a bad engineer. There’s work of his I genuinely enjoy. But usually he’s involved as a producer, so he’s there from the beginning and can be involved in the initial phases of the project.
Typically, how one goes about capturing the source tones when recording is heavily determined by the end sound they’re trying to achieve. My guess is that the original session files for Uroboros that they handed off to Tue just weren’t recorded in a way that lended itself to what they were asking him to do with the album, and may have been able to achieve it if he had actually been around on Uroboros from the start.
Or, since it was done so quickly, maybe the original recordings just weren’t very great source tones, and the original mix engineer just kind of leaned into that element and returned a really dirty, raw, and most importantly unique sounding record.
Mouai ni Shosu sounds lower than A but I haven’t actually tested it. Tbh I kinda miss their Drop C# 6-string songs.
I remember reading the Uroboros review in Kerrang and the author mentioned something about the album’s lack of power and impact due to the production. Not exact wording, obv; but that always stuck with me. The original Uroboros, to me, always felt like it was missing something in that way. Here you are listening to what is now a classic metal album and it doesn’t have the “bite” that it should.
I like what they were attempting with Uroboros Remastered and Expanded, because they probably knew the album needed a touch up; but they overcompensated. And they didn’t need to add tracks. Hydra 666 with new production as a bonus track? Absolutely. In the album proper? Nah.