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2015.12.20, 09:44 PM | #52 |
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^ FUCK YEAH!
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2015.12.21, 05:02 PM | #53 |
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2015.12.27, 03:47 PM | #54 |
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So the Boris x Goth Trad release will be getting CD pressings given out at the show.
But if you want a vinyl you better get there goddamn fucking early and be prepared to FIGHT for it. Because it's very limited. Limited to... 10 copies. That's right. 10.
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Disco! Life is dead Last edited by deadgrandma : 2015.12.27 at 03:54 PM. |
2016.01.04, 01:59 AM | #55 |
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Just over 2 weeks till TogawaKaidan. I'm more than just a little bit hyped.
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2016.01.04, 05:37 AM | #56 |
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Just under 2 days till Onna no 46 Pun, and ditto.
edit: nope, it's a trainwreck, sorry the run had to end girls Last edited by The Most Curious Thing : 2016.01.04 at 07:39 PM. |
2016.01.05, 03:23 AM | #57 |
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That bad huh?
I still haven't had chance to listen but I'll let you know my verdict. Perhaps I'll even do a review. EDIT: I liked it, albeit 'samey' to a fault. I saw your complaint about it having no 'restraint' and being 'loud', however, I can't really relate. I'm not really hearing much difference between this and the last album, so for me, it's an enjoyable, if too familiar ride. No major surprises here, but then, no major letdowns either. On these early listens, I'd likely give it a 7. Definitely will be going back to it a lot. Will decide final verdict later, but there you have it.
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Disco! Life is dead Last edited by deadgrandma : 2016.01.05 at 03:58 AM. |
2016.01.05, 05:50 AM | #58 |
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Had time for another listen this morning!
My second impression is that the arrangement is more culpable—for what I see as the noisiness of the album—than the production (which is still typically solid Avex fare). Tokei Jikake no Jinsei is a good example—the entire horn section blares away on offbeats and does nothing else apart from a few solo riffs; if it were a big band or jazz number they'd be torn apart by critics. A lot of it just feels plum lazy: Taylor ni Narenai yo is static chordwork and the same rhythm drilled into my head for three-and-a-half minutes, while Watashi Machigatteta and Otoko no Saga have the backing bands play...more or less the same thing? Overall, I'm looking forward to my copy getting here so I can compare arrangement credits with Theatre Theatre (and also because, well, the case looks gorgeous ). My first impression that it's a thoughtless jumble of songs feels even stronger. Theatre Theatre and even Futae no Rasen flow smooth as butter. The track placement on Theatre Theatre is so thoughtful it has the feel of a concert; even the reused songs feel more at home there than in their original context (I always forget Mustafa is one of their earliest songs since for me it's most memorable as the lead-out from 71 Million Piece Puzzle Game on Theatre Theatre). On Onna no 46-pun the A/B-sides are plopped-down misfits. Anata no Kuni no Merry-Go-Round tries its hardest to be an album climax, but instead it's stuck awkwardly between a short gimmick track and a Jewish folk song. "No restraint" was unfair of me. The lowkey Milk Tea → Suki Doushi duo is phenomenal and the highlight of the album for me. Last night I was too fatigued by the end of the first half to care—and really, there isn't a individual track I outright hate in the first half anyway. It's just...when I first heard Anata no Kuni no Merry-Go-Round last year, I overwhelmingly thought "this is next-level." Instead of merely codifying their own little niche of a genre they were doing something special. In that sense, I agree with you that Onna no 46-pun is "samey to a fault" and think that they're spinning their wheels with an album less thoughtful than Theatre Theatre. |
2016.01.07, 04:50 PM | #59 |
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2016.01.07, 05:03 PM | #60 | |
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totally, I hope they're in New York again this year |
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