dir en grey FM april 2005

dir en grey gauze 62045 dvd

This certainly isn’t one of Dir en grey’s best performances, but I want to call attention to Shinya here. Why? Because he’s a mess. Granted this was recorded back in December — probably after their hiatus that was a result of Kyo’s throat issues — so maybe they were rusty. But Shinya has been rusty for a while. It’s telling in the song’s opening drum fill, where he doesn’t even bother throwing in the double bass hits, so it ends up sounding like an amateur is sitting behind the kit. I find it curious.

We all know Shinya is a fantastic drummer, but I seriously have to wonder if the heavier style Dir en grey has adopted just isn’t his forte. He doesn’t have the power to drive the sludge forward. In live settings, he’ll go from cracking the hell out of the snare to sounding like he’s applying a feather touch to the toms, all within one drum fill. And his feet sometimes sound like they’re stumbling over each other.

Look, it’s obvious he’s using triggers in the studio. Bring them with you to the stage too, dude. There’s no shame in it. Don’t turn into another Lars Ulrich.

Happy DEG Friday!

Because the blog needs it (just kidding—well the mood in the shoutbox has been…) (^_^);

Much better new photos of Dir en grey. That yellow b/w one from “The Unraveling” promo was pretty bad, like someone just wanted to use a PS filter for the sake of using it or just random messing with the Exposure settings to make it EXTRA EDGY.

(via dklly)

dir en grey | the unraveling (2013)

Covers and artist pic for “The Unraveling”.

http://direngrey.co.jp/english/e-theunraveling.html

The cover features original artwork by artist and sculptor Yasuyuki Nishio. This intriguing artwork is the result of the fusion between DIR EN GREY’s expressions to this day with Yasuyuki Nishio’s perspective of the world, bringing forth yet another release that exhibits an overwhelming sense of existence.

The covers give me a Gazette-y feel for some reason.  :\

http://www.barks.jp/news/?id=1000087949

Saturday, January 11, 2003
My Last Deg Live
Part Two

Now playing:
Onmyouza
(the one with the pentagram on it)

The lights go out and the place explodes, that techno-beat intro they’ve been using starts pulsing, everyone shouts on cue and the two giant screens flanking the stage start flashing images from Deg’s Zepp/Citta shows — Kaoru in his red-and-white harlequin leather, Kyo caked in crusty white flakes, Die headbanging in his shiny blue suit, Kyo again, Toshiya, Die again, Kaoru again, Shinya, Toshiya, Kaoru… — “the whole last year has been leading up to tonight!” they seem to be saying. And the crowd believes.

Then Shinya’s name flickers and dances on the screen, and out waltzes Shinya, and everyone cheers. And Die, and Toshiya, and Kaoru, and finally Kyo — and the cheers quadruple in ferocity. Everyone idolizes Kyo! I wonder what the other guys think, I wonder what i would think in their position… “Well, he’s definitely the crowd favorite, so i guess I’m a little jealous, but fuck it, we split the profits equally, and i’ve got enough girls cosplaying me to keep my spirits up anyhoo…”

Silence.

Kyo: “Dir en grey desu.”

The band beat their instruments noisily. Dun dun dun dun dun dun!!!! The crowd screams.

Shinya hits his hi-hat: 1, 2, 3, 4…

Mr Newsman!

(Or was Mr. Newsman the second song? Damn my rusty innards! Somebody find me a trustworthy online setlist before i embarrass myself!)

They play pretty much the whole Six Ugly E.P, and follow that with the bulk of Kisou. No Gauze at all, no Macabre til later, no indies anything unless the new Byo Shin counts. That’s the first hour or so.

Then it’s the new single, Drain Away, (due out 11/22) and here’s where my memory gets fidgety… but i’m gonna go with my gut and say they stopped here and left the stage. We’ll see what the DVD says when it comes out in a few months.

When they re-emerge, the first lilting piano phrases of Ain’t Afraid to Die drift up — and it’s beautiful… but i find myself hoping they’re gonna pull a “Osaka-jo I’ll" and stop abruptly and Kyo’ll yell Baka! and they’re crash through Zan. But when we hit the chorus of Ain’t and the snow starts falling from the ceiling — it’s gorgeous — i realize that that ain’t gonna happen, so i relax and enjoy the ride. And at the middle break, no one interrupts the silence (eerily!), and Kaoru’s crunchy little guitar flicks sound out before he slides into the solo, and yeah, Ain’t Afraid to Die is a pretty cool song.

Then they storm through Jessica (which, i realized, is far and away my favorite Deg song — it’s happy and it’s heavy, everyone loves to crowdsurf for it… it embodies all that’s cool about a Deg live.)

Then Filth… then an intermission, and when they finally return, KR Cube and Rasetsu Koku and… bang, done.

So that’s the basic skeleton. Here’s the juicy details:

Oops, outta time, see ya tomorrow!

Saturday, January 11, 2003
My Last Deg Live
Part One

Now playing:
Def Leppard
On Through the Night

Leaving home for the Dir en grey Final at Yokohama Arena, I’m in am inconsolably grouchy mood: i’ve got like half a dozen people clawing at me via email (“Where are you?” / “I need this!” / “I need that!” / “I need your help!” / “I need you!” / “We need to rehearse!” / “Let’s meet today!” / “Let’s meet tonight!” / “Let’s meet tomorrow!” / “Let’s meet now!” / “Call me!” / “Call me!” / “Call me!”) and rather than being thankful for the attention, activity, friendship, all that, i just feel like throwing my keitai into a very deep hole, pouring cement over top of it, then building an apartment complex on top. Leave me alone! “I vant to be alone!” For the first time i can understand what actors and musicians mean when they whine about, “oh, i can’t take the fame and pressure!”

Plus i’m running late and i JUST miss my train so i have to stand around like a moron for 10 precious minutes. I’m scowling at the world.

But I eventually get to Shin-Yokohama, and the restorative powers of 10,000 cute teenage female Kyos and Dies running around kicks in. Bliss! It’s hard to be pissed off when there’s so much cuteness in the world.

As I draw closer to the venue, there’s a giant chant echoing through the streets. I get to the place and there’s thousands of people, including maybe fifty girls in a circle, and each one has to yell the name of her favorite band member — giving them “fighting spirit” — so it’s like “HEY! Toshiya! HEY! Kyo! HEY! Shinya! HEY! Kyo! HEY! Die! HEY! Kyo! HEY! Kaoru! HEY! Kyo!” It’s a very cool melody to hear echoing through the canyons of office buildings as you approach (2.5mb RealVideo) from 50 meters back.

I meet up (888kb RealVideo) with Jang, Karla, and Bunny, recon the situation a bit (the merch tables are closed, the coat check is that-a-way, that line’s for this and this line’s for that), and i go get on line to check my coat — which, at Yokohama Arena, means “wait in line for 15 minutes for a white garbage bag. Pay ¥500 for said bag. Put all you worldly possessions into said bag. Tie a knot on top. Get in another line. Wait. Watch sun set. Watch icicles form on the tip of your nose. Be deafened by loudspeakers announcing DOORS OPEN! DOORS OPEN! Watch people start running maniacally and colliding into each other. Get antsy and nervous because you’re STILL in LINE. Finally hand over your bag to another clerk, who slaps a flimsy piece of tape with a number on it onto the bag, gives you a matching number, then throws the bag onto a giant cart-o-bags like so much trash…”

"Realize it’s freezing (it’s January, the sun is down, i’m in a t-shirt, shivering). Adrenaline kicks in. Accost a frightened staffer (frightened not of me but of the insane girls frantically running to and fro like the North Koreans are invading runforyourlives!!!) and ask where the B1 entrance is.”

"Run in elegant, gazelle-like lopes past troops of slower, turtle-like, platform-booted girls towards the entrance, which turns out to be all the way around the building."

"Make a face and sign of the devil at a camera guy trucking along the line of people."

"Hand over your ticket at the door and dash for the ‘standing’ entrance. Show your ticket ten times at each gate til you reach B1. Stop. Breath sigh of relief. Look around in amazement."

Yoko Ari is huge. It’s an American-style arena — a.k.a. a hockey/basketball kinda place. Only instead of ice, there’s a 3 x 3 block formation on the floor, filled with Deg lookalikes. (Picture the Brady Bunch intro, with the nine squares). My block, B1, is Peter Brady’s square — Die’s side, maybe 20 meters back from the stage. Block A1 (Greg Brady) is in front of us, directly in front of a wall of P.A. gear, and though i’m jealous of their proximity to the stage, i also know they will be instantly deafened, so it’s a fair trade.

A2 is the Brady dad, and the place where everyone wants to be, right up in front of Kyo. But still, that section was several few meters back from the stage — there’s giant camera rigs rolling around in front of the stage. And there’s not one but THREE cranes swooping around like seagulls plucking fish out of the ocean, practicing various audience shots. And half a dozen big-ass cameras are perched around the room, like the ones you see on a TV set, the ones that look like they’re trying to be two-man guns on the deck of a battleship. And there’s another half dozen guys ducking around like troops in trenches, with either big news-reporter cameras on their backs or smaller digital handicams. Today is one hell of a big production.

Looking at all the hardware and manpower, i begin to feel nervous for the band. Because it’s like, imagine someone telling you, “Ok, so all the money you made touring last year? We’re gonna spend it all in one day, to make a DVD. So if one of you sucks on that day — if you get a cold, or sleep poorly the night before, or your grandma dies, or you eat some bad sushi, or if you’re just plain nervous and don’t perform at 110% — then the DVD will suck and you’ll have flushed a year’s worth of earnings for you and your bandmates down the toilet.”

So i feel not just excited, but nervous as well, as block B1 gradually begins to fill up with maybe 200 people total, a few guys but mostly girls… a few just wearing short schoolgirl skirts and nothing else, except for gauze wrapped around their chests. Now THAT is a cool fucking fashion statement. [me: big smile, superhappy nodding.]

From the point of view of the cameramen on the cranes, the whole scene must look like frost on windowpanes, with all the fans collecting in the corners closest to the stage, trying to get as close to front-and-center as humanly possible. The whole back half of each block is empty spare a few lazy people leaning against the back railings. But the forward railings though… crunch!

As 6pm rapidly approaches, Deg’s manager, a familiar face to all of us by now, comes out on stage — in a suit! — and goes on for 10 minutes about “don’t hurt yourselves, don’t hurt anyone else, and you see these police lights rigged up all over the place?” <rotating red lights start to spin and flash> “If those are activated,THE BAND STOPS PLAYING.”

And then out go the lights and up go the screams…

END OF PART ONE