【由利】GARNET CROW part8【七】

This is a casual GARNET CROW discussion thread. Please chat widely and enjoyably, keep the atmosphere relaxed, ignore trolls, welcome newcomers and longtime fans, avoid attacking other artists or threads, and remember that there will still be lovely music in this world. Previous thread: http://music8.2ch.net/test/read.cgi/musicj/1200241988/

The sixth album, LOCKS, is scheduled for release on March 12, 2008. The post lists the eleven tracks and the three CD/CD+DVD editions, each with a different cover.

This is GARNET CROW part 186: http://music8.2ch.net/test/read.cgi/musicjg/1203144656/. Search the linked forum for related threads.

The thread’s anti-troll guidance: do not respond to provocations or duplicate posts; post a redirect and ignore them. Trolls feed on replies, so leave them alone and add persistent offenders to the NG list.

A list of recommended albums by PAATOS, Kallocain, Chihiro Onitsuka, hyde, the brilliant green, Pain of Salvation, GRAPEVINE, ACIDMAN, Nick Drake, Sean North, Jun Shibata, Do As Infinity, Rumania Montevideo, The Cranberries, Spitz, Anri Kumaki, Ringo Sheena, Radiohead, THE BACK HORN, Cloudberry Jam, Björk, and Evanescence.

Thanks for starting the thread. Has posting already become impossible?

The guitar has plenty of room in the arrangement, the phrases are carefully written, and even the harmony parts seem designed. I expect a clear, clean, colorful sound rather than one dominated by a single voice.

I watched “Mou Ichido Waratte” on NicoNico. It is the kind of song that grows on you, and I am even more excited now.

“Mou Ichido Waratte” and “Saigo no Ritou” are already available early. The bright evergreen direction may be an attempt to escape the band’s image of a dark, profound worldview.

All I can hear is the wind. Thanks for the thread.

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Explicit sexual phone-call spam; the poster describes anonymously calling women and masturbating while listening to their voices.

A cruel off-topic story about mocking a disabled diner and continuing the act when another customer intervened.

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Use the NG blocking function. If that does not work, report the poster.

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There is a disgusting otaku who keeps attacking GARNET on the voting channel. Could it be the same person?

This seems reportable. I am on a phone, so it does not bother me much. Perhaps everyone is lurking because of the trolling.

The genre has not changed dramatically, but the arrangement and songs evolve with every release. I hope this album is not simply bright and refreshing; even bright songs benefit from GARNET’s thin veil of melancholy.

Most artists change their atmosphere somewhat with every release.

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That is normal, but GARNET changes more richly than most and adapts well. Whatever route they take, they absorb it and make it their own.

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Why not simply ignore the troll? There are many GARNET threads; if enough are opened, the troll cannot keep up.

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The troll is only bumping threads to force someone to open a new one, increasing their own workload.

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Is that really unforgivable to women? If there is love, even bodily secretions should seem cute.

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While turning a garbage bag inside out to find something accidentally thrown away, I found a woman’s used sanitary pad. My first thought was, “Women have it hard.” Seeing her blush in embarrassment made me hug her.

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The old gross joke about entering the toilet after Yuri left and stuffing one’s mouth with what was there.

I choose option 3. Someone has already masturbated using underwear I had taken off.

What does it feel like to have someone masturbate with your own discarded underwear?

Complicated. I asked what he was imagining to become aroused, but he would not tell me.

Perhaps it is simply the kind of male romantic fantasy women cannot understand.

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Announcement: Natsuki Morikawa’s first solo single, “Hanasakeba Haru Tsukata / Amazing Grace,” releases April 16, 2008. The post lists AZUKI Nana and Akinori Tokunaga credits and Conan film tie-ins. The writer plans to buy it because they already own her sister’s jazz album.

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Why does even this project need to use Azuki? Being’s endless mass production of jazz nobody asked for is irritating, though mass production is easy.

As a Nana fan, I am looking forward to it.

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Wow, this person checks residents’ posts every day? Disgusting.

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The troll seems unable to stand being ignored.

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Where has everyone gone? The troll posts every day; they must have an incredible amount of free time.

Are people lurking or posting in the main thread? The troll only attacks when there is no reply because they want attention. Ignoring them for long enough should make them bored, so let us return to the main thread.

Some people are in the main thread and some are lurking. I want to talk here too, but reporting is a hassle. Since ignoring the troll works, I will raise a topic later.

Troll, go away. Do you realize how much trouble you cause everyone?

I was startled. Talking on a board devoted to something you like is surely more fun than trolling. I will imitate it too. I look forward to your topic.

Nobody is here. If anyone wants to play the Gyaru Sone joke, now is the time: “I am Yuri.” This is boring, so I will entertain myself.

There are endless jokes in a casual thread. If the troll keeps going even when nobody replies, that will be funny.

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Please stop already. What is supposed to be fun about doing this?

Do not respond to him. If you engage too much, people will say you are feeding the troll.

I understand the frustration. The thread is being disrupted too, but it is better to post while the troll is absent and quietly pass over the posts when they appear.

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Let me raise a topic first. This album changes direction quite a lot. From the previews, the only obvious continuation of the previous line is the more prominent guitar. It still feels like a collection of coupling tracks, and it has barely made me want to cry. The programmed elements are brighter, with harmonies and perhaps added strings. The riffs are cool; Okamoto is working hard this time.

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This GARNET thread is really being disrupted. The band board has not only had duplicate threads; someone is bumping many different threads too.

I have not visited this thread in a long time. After the album comes out, I can already imagine everyone saying that “THE TWILIGHT VALLEY was better.”

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There are no especially dark songs. The arrangements also feel similar to one another.

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I think LOCKS and Twilight Valley still have different overall atmospheres.

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The melodies and lyrics still sound like them, but the arrangement feels rushed. The repetitive guitar solos are boring, and listening for a long time gets tiring.

It feels as though they are too constrained by the bright evergreen concept. The preview gives a different form of the same similarity: keeping the space for riffs and solos while trying to establish that it is not merely a refreshing image.

Since this is a bright pop release, I hope the next album reacts against it and becomes languid and gloomy.

It may be too early to judge before hearing the whole album, but the orthodox GARNET arrangement is almost invisible. I would prefer more pad synth and lead, dreamy strings like “Maboroshi,” and one of Okamoto’s beautiful arpeggios.

Both the previous and current albums feel too neatly packaged, with songs sharing a similar style. Up through the fourth album the expressions were much richer. Still, a final judgment requires hearing every song carefully.

I do not oppose a new direction and am looking forward to this release, but I still prefer the languid, gloomy GARNET of “in little time,” “Meguriku ru Haru ni,” and “Timeless Sleep.” Even the faster early songs had superb melancholy tracks like “flying.”

Yuri and Nana probably will not change much, but the producer can change direction freely. The sixth album has many similar songs; I wonder whether Miguel’s piano and arrangements are gone for good.

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Why has the focus suddenly shifted to guitar? The slide at the beginning of “Haru Matsu” shocked me. Is this an experiment prompted by Yuri’s growth as a singer?

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Honestly, current GARNET has many bad songs. The early period was divine.

I agree there are many weak songs now, but there are also songs better than before. The gap between hits and misses has simply widened: fewer ordinary hits, more misses, though the occasional huge hit still exists.

I dislike some songs, but I do not think any are truly bad. The increase in guitar tones may be the biggest reason for divided opinions. If guitar is added, I prefer the beautiful feeling of “Eien ni Houmure,” especially its understated solo.

For ACIDMAN, “Green Chord” seems more suitable for GARNET fans than “Equal.” “Equal” is not very rock-oriented and has stylish jazz and bossa elements. Has anyone heard it?

It is not bad enough to call the songs bad. The early singles through the second album were simply so divine that everything gets compared with them. The songs did not necessarily worsen; the arrangements, lyrics, and singing changed, so longtime fans may dislike the very different atmosphere.

I would rather not call them bad songs. The guitar in “Eien ni Houmure” is excellent and creates the scene: the loneliness of faint light entering an empty room. The crash cymbal also emphasizes the feeling of quietly standing up.

The melodies and lyrics remain distinctive, but the biggest change is the producer’s arrangement.

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The programmed drums are painfully weak. Current Being arrangements sound light, especially compared with Kuraki’s programming and Cyber’s arrangers. GARNET’s recent programmed drums are holding the music back.

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How closely can programmed drums reproduce the small details of real drums—snare and kick thickness, open hi-hats, and hi-hat patterns? I cannot tell whether the cymbals in “Eien ni Houmure” are real or programmed.

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With professional synthesizers, MIDI sources, and strong programming technique, one can program different drum and hi-hat phrases and many cymbals. Even rim-click sounds can be made. Since GARNET’s arrangements emphasize the lead vocal, programming may be less intrusive than live playing.

It is less that programming is good and more that it makes the staff shortage obvious. It is GIZA, after all.

That is probably the main reason. The overlap among composers and arrangers also suggests a staff shortage. If the Tambourines are not being sold, they could at least lend their drummer to GARNET, though Kamei’s drumming is questionable too.

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Kamei is practically stationed at Pan Factory now. Only this company would send a band member out as a support musician, though the parent band itself is barely active.

Kamei’s drums feel a little weak compared with Kuritani’s: the tone lacks clarity and the fills repeat old patterns. Strangely, the closed rimshots sound good. Maybe he is actually strong at bossa and jazz. Is the album out next week? I may start by renting it.

Manager: “The Ninaji live show will use Kamei on drums.” Hirohito Furui’s inner voice: “Really?” Furui: “Then percussion needs one more person.” Manager: “I will find another available drummer.” Furui’s inner voice: “Thank goodness.”

At the fan event, even the producer will probably approve of Kamei’s percussion. I like the Latin flavor in “Kaze to Rainbow” and the discreet use of cajón. Kamei apparently teaches beginners at the GIZA school; I wonder how the producer feels about teaching there too.

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I am slightly worried that this album may be the kind that grows on you only after repeated listening. I remember saying the same thing about the previous release. It is probably time to use support musicians on one or two tracks again; even the much-criticized Kamei was present on the first album.

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Is the lack of a live drummer ultimately just a budget issue?

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I listened through the leaked album. I cannot quite see what makes it “evergreen”; rather than light and refreshing, it sounds more rock-oriented than the previous album. The producer uses more bass and fills, giving it groove and weight. Even the riffs are unusually prominent. Overall I feel blindsided in every sense. I will listen again.

The strings and synth melody on the final track are cool. The delayed call-and-response “nice, right?” in “Futari” made me laugh.

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You are still here? Who was saying recently that they would not buy the album and would quit the fandom?

Who? Me, lol. I will disappear soon, so do not worry. I bought all three editions! I am an idiot. I wanted to quit, but now I cannot listen to anything except GARNET. Take responsibility—the person who recommended the coupling tracks!

Sorry, but buying three editions of that really is a little foolish.

Take responsibility for what you said, and write fewer long posts.

Yukki persuaded me, so I bought all three editions. The arrangement is far from my idea of “evergreen”; I can even feel the rock groove. The guitar is working too hard.

The lyrics are as good as ever. “Futari” is probably Adam and Eve: after biting the apple and learning something they did not need to know, what happens to “us”? Calling it a poisonous apple rather than the fruit of knowledge is very Nana. The boundary between self and other is still a theme. I need to reread the lyrics.

Songs such as “Mikansei,” “Mizu no Nai,” and “Futari” seem to have motifs. What is interesting is that they do not directly describe the motif; instead, a secondary story grows from it or becomes entangled with another story. “Futari” probably compares two modern people to Adam and Eve.

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I wondered whether I should buy Hikari Ota’s book while listening to “The Crack-Up.” I searched for “Apollo’s Bird” but perhaps got the title wrong. I wrote rough English renderings of the lines about snow, the waxing and waning moon, and the world changing shape in a fleeting day; my English is poor.

I do not know what you are trying to do.

If there are other books Nana has read that you recommend, please tell me.

I would like to know too. Films as well as books would be welcome.

The conception of “Futari” is interesting. The transition into the final lines, with the island imagery, is very AZUKI Nana and gives the song depth. This album also seems to contain many songs whose scenery expands the feeling of the music.

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The old joke about walking into the toilet after Yuri leaves and stuffing one’s mouth with what is there.

I choose option 3. Someone has already used my removed underwear to masturbate.

What does it feel like when someone masturbates with underwear you took off?

Complicated. I asked what he was imagining to become aroused, but he would not tell me.

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I did not expect a regular poster to buy all three editions. I listened from beginning to end and thought it was quite good; I especially prefer this version of “Namida” and “Kono Te o Nobaseba.”

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The arrangement of “Futari” is exactly my taste. It is centered on guitar and bass, but the synth and piano are stylish and well balanced. The melody of “Mr. Holiday” sounds a lot like aiko.

The arrangement of “Futari” reminds me of some Billy Joel song, though I cannot remember which one.

I like “Mou Ichido Waratte,” “Futari,” and “Love is a Bird.” The intro to “Saigo no Ritou” is excellent; the arrangement deserves praise.

However you look at it, it turned out to be a great album.

There are indeed more scenic descriptions than usual, making the landscape gradually unfold. The album seems to restrain the overtly death-centered and heavy lyrics. Metaphorical songs such as “Saigo no Ritou” and “Futari” still feel very Nana. Yuri said she did not want to repeat the previous direction; perhaps Nana felt similarly. If the musical atmosphere changes, the lyrics naturally change too.

I also feel an aiko-like quality in “Mr. Holiday.” Not plagiarism—just a new element. The song still feels very Yuri, especially in the verses. Slowed down and given a different groove, the melody could make people cry. It differs from my predictions and tastes, but I think it is a good album—perhaps a second chapter. I would prefer the vocal to sit a little lower in the mix, though. I want to listen several more times before judging.

Overall, are the vocals too far forward? The synth and piano seem reduced even more than on the previous album. In songs such as “Mou Ichido Waratte,” the strings enter later, but the loud vocal keeps them from functioning as much of an accent.

Yuri’s singing style has not changed since the previous album, and that hurts a little. Against this new direction, the vocal approach can feel out of place.

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If we are talking about motifs, there are not many suggestive phrases except in “The First Cry.” I prefer “Futari” because the motif is clear and you can see how Nana has processed it in her distinctive way.

The only truly striking phrase is something like “the revolutionary first cry.” Since the motif itself is hard to convey, that line feels slightly abrupt. It is still a good song, and I like the lyrics.

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I expected more metaphorical and exaggerated writing. Among the existing songs, something like the lyricism of “Sky.”

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The radio show played t.A.T.u’s “Gomenasai,” which had been discussed in the previous thread. Am I imagining it, or does Okamoto’s radio show often mention things people discussed on 2ch?

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It started around the time people said Yuri’s outfit in “Twilight Valley” looked like a disco ball. Okamoto being on 2ch would not surprise me.

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Let us plant another bait joke. Okamoto, I want to hear Def Leppard’s “Love Bites”!

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There are many good songs and the album is cohesive, and I was drawn to Yuri’s singing in “Saigo no Ritou” and “doubt.” Still, something feels missing. After several full listens, there is not enough shadow. “Saigo no Ritou” and “Love is a Bird” begin with dark melodies but turn bright in the chorus. “Love is a Bird” initially sounded like a second “in little time.” Also, is there too much clattering overall?

This does not look like a permanent change of direction, so perhaps the next album will be a set of heavy songs.

I think the arrangements have more range than the previous album. The drum patterns and subtle differences in tone are clear; the previous album felt as though the guitar simply charged forward, perhaps because the melodies were so similar.

After listening through the album, I unexpectedly enjoy the groove of “Kaze to Rainbow” and “Kono Te o Nobaseba.” I used to complain that they were overdone and that the strings were annoying. The little drums and guitar in “Kaze to Rainbow” are good, and the drum fills in “Kono Te” are excellent. The kick drum really gives it satisfying weight.

I mean the groove. Sorry for posting twice. I never know when a GARNET song will turn out to be one that grows on me.

So other people also came to like “Kaze to Rainbow” and “Kono Te” on this album. The cohesive atmosphere and excellent drum arrangements probably made their strengths easier to notice. If they had been on the previous album, I might have grown tired of them.

Your subjective opinions do not matter. Drop dead.

The bass line in “Kaze to Rainbow” is godlike, and I only just noticed it. The flow from “doubt” is excellent too. The track order is flawless. The producer’s drum programming has clearly improved; the fills in “Futari” show real craft. The guitar has presence without taking over. It is unmistakably GARNET when heard closely, with elements of “Happy Pet” and “nonsense” plus a little poison.

The producer probably programmed every guitar, bass, and drum part first, then replaced only the guitar with a real recording before putting it on the CD. I do not know much about programming, but that sounds exhausting.

Is Okamoto responsible for the guitar riffs and solos? Programming looks exhausting: synth pads, strings, piano, and everything else must be added behind it. It takes real dedication to music; as an amateur, all I can say is that it is impressive.

I heard that even the guitar begins as a fully programmed arrangement. The sounds of real instruments are recorded afterward.

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Has Mr. Yukio visited since LOCKS came out? I would like to hear his opinion.

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Of course people who listen to anime-song bands are disgusting otaku, right? You are only saying that now?

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The track order really is flawless. Songs I previously disliked, such as “Kaze to Rainbow,” fit well here. I did not dislike the previous album—in fact I thought it was their second-best after the first—but it was unusually difficult to replay. This one feels looser yet does not become tiring; it inherits the previous atmosphere while bringing GARNET’s identity back in a good way, though that also makes it feel somewhat in-between.

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You are definitely still a virgin, lol. Go to a brothel and have someone take care of that for you, lol.

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Just ignore it. Continuing to post as though nothing happened after a troll disrupts the thread is what gives this thread its quality. The album may feel slightly unsatisfying, but rather than loose or half-finished, it may simply have little excess, reducing the impact while keeping the balance pleasant.

Ordinary people do not think about a troll’s feelings. The opinions here are the opposite of the main thread: positive here, negative there. Perhaps people miss the darker atmosphere. For me, this is a fresh album because it proves the band can hold attention without relying only on synth and piano.

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