Review Summary: Cover scars with scars...
After the band signaled a big stylistic change with their 2007 effort THE MARROW OF A BONE, Dir En Grey released what is widely considered their magnum opus, the avant-garde masterpiece UROBOROS. In 2012 they would release the remastered version of that album, and while the original is still very well written, the 2012 version is a massive improvement over the original’s muddy sound and is without question the greatest accomplishment the band has made up until this point.
This is the album that elevated the band beyond their Visual Kei origins. After the band injected western influences into their previous album, it seemed only logical to push that further and expand their horizons into what can only be described as a cerebral and haunting effort with a creepy, borderline spiritual quality to some of the songs. A great example is the opening track Vinushka which is a lot to digest with its nearly 10 minute runtime. For a lot of people this was an introductory track to this band, and what an impression that must’ve made. The atypical, progressive structure juggles between roaring climaxes, some truly stunning vocal work, an unexpected acoustic passage with woodwind instruments, and sudden death metal tantrums draped over with some of the most impressive harsh vocals within the genre.
Kyo’s vocals on Uroboros are at times bizarre but always awe-inspiring, the whistle-like shrieks, the feminine operatic whines, the guttural death metal barks, and the constant exercising of his vast range make this one of the most unique and interesting albums of the 2000’s. The song Toguro in particular showcases Kyo’s incredible range and skill as a vocalist, and is one of the album’s catchiest tracks. Beside Kyo, the band implements the use of a wide variety of instruments including mandolin, congas, electric sitar, and biwa. All of which add a fantastic level of depth and texture to their perspective songs. The use of congas and tribal rhythms give a lot of these songs an ancient, ritualistic feeling, especially when paired with the traditional folk instruments. Aside from these fantastic new additions, the guitars are tight and varied. Tracks change from funk riffs on tracks like Stuck Man to aggressive death metal fare with grind and doom elements, and even some hints of industrial and metalcore. The eclectic and abrasive nature of UROBOROS is held together by it’s drums, performed by Shinya who does a wonderful job on every track.
The band has a masterful use of atmosphere throughout the album, namely the track Reiketsu Narisebu which shifts into a dark, psychedelic passage before an eruption of chaos at the end of the song. This is something the band has always done well, setting a unique tone for each of their albums. But here it’s been fully realized and is implemented in a more important way than ever before. A lot of the softer tracks, Vinuska, Glass Skin, Ware Yami Tote are dense and elegant. Guitars soaked in reverb pulsate in the distance from ear to ear beneath a layer of ambient textures and a gorgeous acoustic melody on the track Ware Yami Tote. Similarly, the emotional piano driven ballad Glass Skin is massive and haunting, Kyo’s vocals soar in an impactful crescendo with layer upon layer.
By the time the last portion of the album hits, the band has thrown so many different styles and ideas at the listener that it’s shocking how well they all fit together. Then Bugaboo Respira comes on, an isolated recording of Kyo’s voice with some faint sounds in the background. A lot of people feel this was an unnecessary addition to an already lengthy album, but on the other hand it adds a much needed rest from the sonic onslaught. This is followed by the monolithic, doom-y ‘Bugaboo’, one of the album’s best moments. The last few tracks still cram in surprise after surprise. After an ethereal introduction ‘Dozing Green’ kicks in as one of the more groovy, alt-metal sounding tracks on the album, and then ends on an impossibly high note with the somber and downright beautiful ‘Inconvenient Ideal’ which shows off some great song structuring, the ascending riffs which hint at and build to a chilling climax, and some unexpected tribal chants which transition into the aforementioned climax. This is another standout track on the album, in a sea of standout tracks.
This is the perfect starting point for the band. A perfect album by a band at their most inspired and passionate. The transition from something like THE MARROW OF A BONE to this is truly jarring, and of course with so many strange and out there ideas, this may not be everyone’s cup of tea. Kyo’s vocals may stop some people dead in their tracks, but even then this is very much an album that needs to be, and deserves to be taken in its entirety at least once by anyone who is a fan of metal, or music in general. Even at its strangest moments it’s never not impressive what these musicians pull off here. It’s very rare that a band can put together this many styles and maintain consistency while also being fairly digestible at over an hour runtime.
Best tracks:
- Toguro
- Inconvenient Ideal
- Glass Skin
- Bugaboo
- Vinushka
- Red Soil
