Review Summary: This album is not very different to other visual kei releases from around this time: it has strong basslines, the trademark vocal style, the makeup and the pop influence. It contains some of the best and defining visual kei songs ever. This album alone wi
Dir En Grey`s debut album is a very different beast to their recent releases. As with a lot of other Visual Kei releases during this period, it has an underlying `poppy` feel to it, which makes nearly every song catchy and easy on the ears.
This album is very `hit and miss` in my opinion. There are some outstanding songs, such as `Cage` and `Yokan`, and then disappointing songs, like `MASK` and the intro and outro `songs`.
The album started weakly for me and I had to force myself through `Gauze -mode of adam-`. Having listened to both `Jealous` and `ill` before, the carnival style music threw me off completely. It does prepare you though for the next song, `Schwein no Isu`, which starts with a funky riff full of harmonics complemented by a sludgy bass line which keeps it together. The song starts ambitiously and it led me to thinking that it might become one of my favorites of the album. Then the verse, which is a structured one in contrast to Kyo`s chaotic shouting/screaming, kicks in. This and the rest of the song, takes progressive a little too literally for me, as each riff does not really fit with the one before. People who like songs like `Tsumi to Batsu` would probably like this song.
I was starting to become desperate for a real kick starter to the album, and this came in the form of `yurameki`. A very 90`s, Visual Kei chorus starts the song, which instantly got me hooked. Another funky riff held together by Toshiya`s strong bass follows: this `riff held together by the bass` is constant throughout the whole album. The pace then slows into a very J-Pop reminiscent verse. Some may think this song is boring since all it really is is the funky riff and the slow riffs of the verse and pre-chorus interchanging, but Kyo`s vocals and the guitars in particular are really strong here.
`raison detre` is a nice filler song, but it is not anything special. The bass is made to sound like the bass from dance music and similar, and Toshiya nails it in my opinion. The album could`ve done without the song, but I`m not that bothered.
Now for my favorite song of the album, `304 Gou***su, Hakushi no Sakura`. It starts with a dark, cowboy western style riff, which is then interrupted by Kyo`s spoken vocals. The whole song has this dark, mysterious feel which is given off by the guitars and Kyo`s `distant` vocals. The chorus is more upbeat and rock-and-roll and is what sold me on the song.
`Cage` is usually the one of the answers to `what is your favorite Dir En Grey song`, and it is obvious why.
It is a song which really sums up Dir En Grey: a (VERY) strong bass line, pianos, acoustic guitars, the differing yet essential playing styles of Kaoru and Die and of course, Kyo`s singing. The song slowly builds up from a chugging verse, to a controlled Pre-chorus and finally, into a free, unrestrained chorus. Halfway through all is set for an anticipated guitar solo, but instead the rhythm section takes the spotlight, with one of the most beautiful bass solos ever. The bridge turns into an acoustic led, spanish sounding affair, with Kyo really letting himself go before the final chorus. A masterpiece.
I personally don`t understand people`s preferences for the next song, `Tsumi to Batsu`. For those that have heard (or will hear) `Zan`, I like to think of this song as a chaotic, worse version of Zan. These two are probably the most `metal` of the album. `Tsumi to Batsu` begins with a fast paced riff along with Kyo`s pre-Vulgar shouting/screaming, which really turns me off this song. There are of course clean moments, which are splendid, but these alone don`t change the fact that this song is a disaster.
`Mazohyst of Decadence` is one of two songs about abortion along with `Obscure`: and `Obscure` is clearly the better one. `Mazohyst of Decadence` is a whopping 9 minutes and 22 seconds and it really does sound like a poppy, visual kei attempt at drone metal. The pace of the song is overall quite slow and stays slow throughout the whole song. Fans of newer songs like `Vinushka` and `Diabolos` would probably like this song, although give it a try, since the riffs and singing are more upbeat and less chuggy than most of Dir En Grey`s longer songs.
After two songs of mediocre quality, the album moves onto `Yokan`, another masterpiece. It is a very welcome breath of fresh air, and a return to the funkiness of the first few songs. Kyo again shows off the extent of his cleans, and the song is probably the most pop-like along closely followed by `Yurameki`. The guitars are the primary instruments in this song, with a very simple bassline in the background. This song is very easy on the ears and even the rapid chord changes of the guitars don`t change this fact.
`Mask` is definitely a song that wasn`t necessary to put on the album. There really is nothing special about the song and it sounds like a mix between their `heavy` stuff on the album and the poppy visual kei songs. The only purpose I can see is so the listener doesn`t get a huge shock when they change track from `Yokan` to `Zan`. `Mask` sort of reminds you that heaviness may be around the corner.
`Zan` is hands down the heaviest song on the album, but compared to `Tsumi to Batsu`, is a well-structured classic song. The beginning is chaotic and Kyo`s scream and gasps are accompanied by a slowly increasing drum, guitar and bass track. in the background of this crescendo of sound can be heard a clean, spooky riff as well as sporadic bursts of static. It all erupts into an alternately picked riff that is heavier than most down-tuned metal out there today. Kyo`s shouting/screaming actually works in this song and the drums are to be commended here. This track proves that Dir En Grey are unusually versatile and are not your average Visual Kei band.
Finally, the `last real` track of the album, `Akuro No Oka`, a 9 minute ballad. This song is really just Kyo and an acoustic guitar, and the band serves only as a backing band. This song does start slowly, but given a chance it should impress. The verse is very slow with only a chord strummed every now and then and a quiet bass line. Kyo only sings small phrases, which helps add to the building atmosphere. The chorus changes key and that 90`s, Visual Kei style chorus is heard again, and Kyo`s singing is fist pumping, powerful stuff. It is a nice end to the album, and is a good relaxation song.
`Gauze -mode of eve-` is not even a song, counting in at 4 seconds. I suppose it creates a balance with `Gauze -mode of adam` at the beginning of the album. Nothing more to be said really...
