First Impressions: [The Insulated World] - DIR EN GREY
Preface: Another belated update! I picked up DIR EN GREY's new album last week, and have put some thoughts together on it. It was a bit of a challenge, and I don't know all the fancy music-lingo, so please forgive me for generic thoughts and feelings.
1. 軽蔑と始まり Keibetsu to hajimari
This definitely strikes me as typical DEG fare, musically. Kyo employs a slightly different vocal style than he's been using recently (ie. Ranunculus, 人間を被る Ningen wo kaburu). It's very loud, very hard. For an introductory song it's a little surprising in that there's no holding back. Also, Totchi's bass is lovely.
2. Devote My Life
Fast-paced. They've used a different guitar rhythm than usual (for DEG). It slows around 01:00. There's an almost simple song structure going on, but if you listen carefully, there's a lot going on within that. It's a lot of fun live; I remember those guitar chords.
3. 人間を被る Ningen wo kaburu
Delicious. This was the single they released earlier this year, on April 25. I find it musically different, in a way that only DEG seems capable of. Kyo's vocals are absolutely gorgeous. Highly recommend. The video's pretty fun, too.
4. Celebrate Empty Howls
Funky. Different, even for DEG, but like usual it works for them. They know what they're doing. Kyo uses somewhat haunting single-note vocal runs. It's hard to describe. This song has DEG's soul, without doubt, but it's also very different somehow. Highly recommend.
5. 詩踏み Utafumi
It sounds like they've put on some kind of effector on the guitars, they sound a little muffled. This is great for lives. They opened the show at Osaka Namba Hatch on 8/30 and 8/31 with this track.
6. Rubbish Heap
They've put in some vocals that add a... childish? element to the track. It takes away a little bit from the dark weight of the song. I'd say it's almost for sure intentional, knowing Kyo. There's a cool effect on the guitars. It has a sudden end, but I like it. It's fitting.
7. 赫 Aka
Very ballady, without doubt the most ballad-like so far. Kyo's clean vocals had me swooning. It's definitely got a slower pace than all the other previous tracks, with the exception of Devote My Life. It's very beautiful. Totchi's bass shines. The slight guitar solo is equally wonderful. I love this track; it gives each member a chance to shine.
8. Values of Madness
Yes. Just yes. This is definitely a faourite. This track has the funkiest vocals. What the hell, Kyo? Where do you get your inspiration from?
9. Downfall
Like quite a few songs on this album, this one has familiar elements, but also newness. The mishmash of both make it hard to define things clearly. I find this song most difficult to describe, because it comes off to me as the most different on the album. I highly recommend it, though. It's worth your time.
10. Followers
So much synth! It's gentle, with light, softer elements than usual. I'm not used to this kind of sound for DEG. They're usually more technical than that, but I don't think that's a bad thing. It's got a bit of a ballad-type sound to it. There's an excellent solo. It'll be amazing live.
11. 谿壑の欲 Keigaku no yoku
Awesome slow guitars. Really, everything is slow until about 01:00. I think this goes above Values of Madness for being my favourite track on the album. It drives into the "typical" DEG style, with Kyo's growl- and scream-type vocals, and the guitar chords. It slows to the same structure at the beginning again. Highly recommend.
12. 絶縁体 Zetsuentai
First off - I live for long songs. DEG's long songs are phenomenal and story-like. They are fucking JOURNEYS. Especially when performed live (ie. THE BLOSSOMING BEELZEBUB, VINUSHKA, DIABOLOS, etc.). This track starts off very light-toned, with very clear vocals. Kyo seems to be singing at a slightly lower register than usual, and he sprinkles in his standard higher register here and there. Just listen to it. It's gorgeous, I can't recommend this song enough.
13. Ranunculus
I was lucky enough to experience this track performed at both shows in April at Namba Hatch, as well as both dates at the same venue in August. The live performance carries the same atmosphere as the video. I recommend watching the PV, as there's a lot going on there. This is another of what I would call an experimental track for DEG. It starts very slow, bass-heavy. Then we're introduced to Kyo's voice. It's also the poppiest track on the album, and possibly the poppiest song they've produced in the last few years. They perform it excellently. They play a video on a screen behind them of parts of the world damaged by fire, with lots of smoke, and other nature scenes. Kyo puts the stress on /rænʌŋkjʊˈləs/ as opposed to /ræˈnʌŋkjʊləs/ which I feel is almost certainly intentional. Knowing Kyo, it would be more surprising to me if he was ignorant of the 'standard' stress on this word.
OVERALL
With DEG, I rarely have expectations for their releases, as they're so prone to experimentation. Even when they're staying close to their core sound, they never fail to surprise me. At the same time, that makes it difficult when trying to find intelligent things to say about what they've done. When they stick closer to their core, they do so in a way that still sounds somehow different. They've made their career showcasing a complete lack of fear in experimentation, and I think it's been for the best. When they try something new and mix it in with their core sound, even that is challenging to describe. I wouldn't say this is universally going to be liked by every DEG fan, or even every fan of experimental metal, but I'd say it's at least worth a listen-through. It's familiar, it's new, is DEG. They keep their core while still blending in new elements and techniques, and in a way that sounds totally different than if it had been entrusted to someone else's hands. After a four-year gap since their last full album, this is a wonderful treat.
Without hesitation or regret, I rate this album ★★★★☆
***
Notes: While I'd love to speculate on the lyrics and how they pair with the musical compositions, Kyo is a notoriously difficult lyricist. He constantly uses double entendres and homophones, in both English and Japanese. It's why I suspect many vocalisation/pronunciation choices were deliberate. He's the sort of man who almost always does things a certain way For A Reason.
1. 軽蔑と始まり Keibetsu to hajimari
2. Devote My Life
Fast-paced. They've used a different guitar rhythm than usual (for DEG). It slows around 01:00. There's an almost simple song structure going on, but if you listen carefully, there's a lot going on within that. It's a lot of fun live; I remember those guitar chords.
3. 人間を被る Ningen wo kaburu
Delicious. This was the single they released earlier this year, on April 25. I find it musically different, in a way that only DEG seems capable of. Kyo's vocals are absolutely gorgeous. Highly recommend. The video's pretty fun, too.
4. Celebrate Empty Howls
Funky. Different, even for DEG, but like usual it works for them. They know what they're doing. Kyo uses somewhat haunting single-note vocal runs. It's hard to describe. This song has DEG's soul, without doubt, but it's also very different somehow. Highly recommend.
5. 詩踏み Utafumi
It sounds like they've put on some kind of effector on the guitars, they sound a little muffled. This is great for lives. They opened the show at Osaka Namba Hatch on 8/30 and 8/31 with this track.
6. Rubbish Heap
They've put in some vocals that add a... childish? element to the track. It takes away a little bit from the dark weight of the song. I'd say it's almost for sure intentional, knowing Kyo. There's a cool effect on the guitars. It has a sudden end, but I like it. It's fitting.
7. 赫 Aka
Very ballady, without doubt the most ballad-like so far. Kyo's clean vocals had me swooning. It's definitely got a slower pace than all the other previous tracks, with the exception of Devote My Life. It's very beautiful. Totchi's bass shines. The slight guitar solo is equally wonderful. I love this track; it gives each member a chance to shine.
8. Values of Madness
Yes. Just yes. This is definitely a faourite. This track has the funkiest vocals. What the hell, Kyo? Where do you get your inspiration from?
9. Downfall
Like quite a few songs on this album, this one has familiar elements, but also newness. The mishmash of both make it hard to define things clearly. I find this song most difficult to describe, because it comes off to me as the most different on the album. I highly recommend it, though. It's worth your time.
10. Followers
So much synth! It's gentle, with light, softer elements than usual. I'm not used to this kind of sound for DEG. They're usually more technical than that, but I don't think that's a bad thing. It's got a bit of a ballad-type sound to it. There's an excellent solo. It'll be amazing live.
11. 谿壑の欲 Keigaku no yoku
Awesome slow guitars. Really, everything is slow until about 01:00. I think this goes above Values of Madness for being my favourite track on the album. It drives into the "typical" DEG style, with Kyo's growl- and scream-type vocals, and the guitar chords. It slows to the same structure at the beginning again. Highly recommend.
12. 絶縁体 Zetsuentai
First off - I live for long songs. DEG's long songs are phenomenal and story-like. They are fucking JOURNEYS. Especially when performed live (ie. THE BLOSSOMING BEELZEBUB, VINUSHKA, DIABOLOS, etc.). This track starts off very light-toned, with very clear vocals. Kyo seems to be singing at a slightly lower register than usual, and he sprinkles in his standard higher register here and there. Just listen to it. It's gorgeous, I can't recommend this song enough.
13. Ranunculus
I was lucky enough to experience this track performed at both shows in April at Namba Hatch, as well as both dates at the same venue in August. The live performance carries the same atmosphere as the video. I recommend watching the PV, as there's a lot going on there. This is another of what I would call an experimental track for DEG. It starts very slow, bass-heavy. Then we're introduced to Kyo's voice. It's also the poppiest track on the album, and possibly the poppiest song they've produced in the last few years. They perform it excellently. They play a video on a screen behind them of parts of the world damaged by fire, with lots of smoke, and other nature scenes. Kyo puts the stress on /rænʌŋkjʊˈləs/ as opposed to /ræˈnʌŋkjʊləs/ which I feel is almost certainly intentional. Knowing Kyo, it would be more surprising to me if he was ignorant of the 'standard' stress on this word.
OVERALL
With DEG, I rarely have expectations for their releases, as they're so prone to experimentation. Even when they're staying close to their core sound, they never fail to surprise me. At the same time, that makes it difficult when trying to find intelligent things to say about what they've done. When they stick closer to their core, they do so in a way that still sounds somehow different. They've made their career showcasing a complete lack of fear in experimentation, and I think it's been for the best. When they try something new and mix it in with their core sound, even that is challenging to describe. I wouldn't say this is universally going to be liked by every DEG fan, or even every fan of experimental metal, but I'd say it's at least worth a listen-through. It's familiar, it's new, is DEG. They keep their core while still blending in new elements and techniques, and in a way that sounds totally different than if it had been entrusted to someone else's hands. After a four-year gap since their last full album, this is a wonderful treat.
Without hesitation or regret, I rate this album ★★★★☆
***
Notes: While I'd love to speculate on the lyrics and how they pair with the musical compositions, Kyo is a notoriously difficult lyricist. He constantly uses double entendres and homophones, in both English and Japanese. It's why I suspect many vocalisation/pronunciation choices were deliberate. He's the sort of man who almost always does things a certain way For A Reason.
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