SPECIAL: Dir en grey's Strange, Strange Career

Dir en grey's career has been to some, a long up, then a quick nosedive. To others, a low point followed by a skyrocket. Maybe even a big zigzag. But, statements such as these come loaded with bias, as the crowd Dir en grey now attracts has nothing to do with their previous crowd, and their music isn't so much for teenage girls as it used to be. In actuality, their career goes "Alright mini album, okay album, good album, great album, repeat" so far. It's happened twice, and, the question is: Will it happen again? Most likely, no. They're too far into their career to release a mini album. But.. would it be awesome? Yes. Now of course, we see the Gauze fangirls and the VULGAR fangirls just like we see the couple of people who like MACABRE as well as the couple of people who like Withering to death. And also, the people who praise Kisou to no end, and, in the future when the 'newness' fades, there will most likely be people going nuts over Marrow of a Bone as well. Here's my observation on this strange occurance:

Missa/six Ugly: Both were undeveloped prototypes of the sound they would soon introduce. In Missa's case, it was jangly alternative rock and by-the-book VK thrash metal, with a sprinkle of that oldschool Diru flavor. For six Ugly, it was a mixture of hardcore punk, and nu metal. Both of which they even have indirectly said have influenced them heavily. On Missa, Kyo learned how to sing in his signature style. On six Ugly, Kyo learned how to scream in his signature style.

Gauze/VULGAR: Both are the most commercially accpetable of both, and have the easiest sound, and are true to the genre that they are lumped in. Also, both are the most visual out of the two threesomes of albums. They had their strongest ashetic as these points, having memorable costumes, and their most memorable PVs as well.

MACABRE/Withering to death.: Both are special to people for the same reason: An important stage in their lives. The experimental nature of the albums can turn off listeners on either side, but either way, both albums have both the strangest and most catchy songs from the trilogies. It's so easy to get a song like [KR] Cube or Machiavellism stuck in your head, or get totally weirded out by Hydra or GARBAGE. Also, on both albums, the themes were just inbetween those of the previous and the following.

Kisou/THE MARROW OF A BONE: Both have Kyo's most 'offensive' lyrics, his strangest vocals, and most of all, the heaviest and most coherent music. Both albums, on first listen, cause an uncomfortable atmosphere, with a couple 'normal' songs dotted around the album. During both of these albums they didn't appear in magazines very often, but their stage act was the most memorable and important part. Both are an incredible showcase of talent, and are the peaks of the periods. Strangest thing is: The singles are in the same place on both albums.

So, what's next? Who knows. If they do release a mini album, I will be pleasantly suprised, and if they do not, I will be unsuprised. It basically means, if they do, that they are still exploring, but if they don't, it means they are very comfortable with their career. So, only time will tell what will happen next for them.

Sadie - The Bullet Storm

The Sadie guys finally come out with their new mini album. After the stinker that was A Holy Terrors, I wasn't expecting much. But.. I was actually suprised. I knew something at least sort of interesting was going to happen by the first track, obvious ballade. It's a sort of bland song. Not much actually happens here, except for the normal stuff. The verses are quiet and sung with a low voice, with the chanting and whispering and whatnot. Nothing really special. The chorus is predictable. But.. Sadie has a habit of making the first song on a mini album really generic. But, this boredom ends when Deadly Masquerade comes on. This song will be so fun live! It's definately a song made for jumping and bouncing and shouting. The chorus isn't boring, either. It's something that is actually new for them. Very impressed. However, Silent Eve was probably made to keep the fangirls from running away. I hate the generic soft song. It doesn't work for Sadie. Mao sounds like he's struggling with the notes. Can't listen the whole way through the song. ..So, I skipped to waver in darkness. I can hear the Engrish. It's so thick that I could slice it. This song isn't really my type. It doesn't go anywhere. I can't move to it. It just sits. Bye, song. Blue irony starts out like it's about to do something cool. But.. it seems like the band stopped being awesome to slow down for Mao. Sometimes I think he's not really made for the kind of music they're doing now. He can't sing in any voice other than "If Kyo was VK right now". Kinda sad. So.. this song's skipped too. ..Oops, album's over.

So, yes, this album is as I expected during the first track. Sort of interesting. It's not solid like The Suicide Machine or The Trend Killer. It's just.. there. Deadly Masquerade is good, but it isn't as cool when the other songs nearby are made of unspecified grey matter. So.. better luck next time, Sadie.