Album of the Week 45-2018: Sigh – Heir To Despair


While Sigh started out as one of Japan’s first extreme metal bands, they have become one of the country’s most unpredictable bands. Though black metal is never completely gone, their highly experimental albums can contain anything from jazzy breaks to film noir soundtrack interludes and electronic beats. In a way, ‘Heir To Despair’ is one of the more accessible albums the band has released so far, but they once again follow a completely different direction than ever before. As long as you don’t expect a symphonic black metal record, the oriental melodies and traditional heavy metal riffs may enchant you.

A brief genre description for the music on ‘Heir To Despair’ is as difficult as ever, but progressive East-Asian folk metal covers most of the bases. The inclusion of main man Mirai Kawashima’s flute gives certain sections a distinct seventies prog feel, while the shamisen of guest musician Kevin Kmetz – along with the general atmosphere of the melodies – gives the album what is arguably the most oriental vibe ever to be heard on a Sigh record. And yet, the eighties metal feel of the guitar riffs is also there. It is a mix of influences that is as unlikely as it is successful.

Some people may be surprised by the relatively large amount of clean singing on the record. In addition to employing several traditional Asian vocal techniques such as throat singing, Kawashima has put down a handful of excellent, haunting vocal harmonies. The brilliant midtempo opener ‘Aletheia’ is full of them, for instance. A daring opener, as it does not ease the listener into the album’s sound, but drops the new sound on them immediately. ‘In Memories Delusional’ balances more traditional heavy metal sounds with more folky touches and strong hamonies and may be an excellent starter if you have not heard the excellent thrashy metal of ‘Homo Hominis Lupus’ yet.

Elsewhere, the album can get a little weird. The electronic rhythms of the ‘Heresy’-trilogy can have a dubby feel due to the use of reverb, while most of the band’s influences are crammed into the three tracks. That is just a short detour though, since as a whole, ‘Heir To Despair’ is one of the most consistent Sigh albums both stylistically and in terms of quality. The album ends with two exceptional extreme progressive metal tracks that are filled with excellent ideas and sudden shifts in atmosphere. A very climactic ending to an album that isn’t exactly short on interesting musical ideas anyway.

The most remarkable thing about this, however, is how Sigh managed to streamline all of those ideas. Sure, the trilogy is an obvious departure in terms of overall sound, but ‘Heir To Despair’ has a very pleasant flow for an album with such a wide range of influences. Sure, the pristine production helps, but in the end, it is a triumph for Kawashima in terms of songwriting and arrangements. This is a must for fans of adventurous metal, but even progressive rock fans who don’t mind a bit of extra grit could find something of their liking here.

Recommended tracks: ‘Aletheia’, ‘Hands Of The String Puller’, ‘In Memories Delusional’

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2018
11/11
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Album of the Week 44-2018: Kinniku Shojo Tai – Za Shisa


Despite being somewhat unpredictable stylistically, Kinniku Shojo Tai has been experiencing a very solid run recently. More so than during the latter years of their original run, in fact. Some of their recent albums are slightly better than others, ‘Omake No Ichinichi (Tatakai No Hibi)’ in particular, but none of them is less than enjoyable. ‘Za Shisa’ is another convincing entry into their discography, which currently counts over twenty studio albums. The general vibe is slightly more relaxed and less crazy than on their previous records, but anyone who liked their melting pot of influences before will certainly enjoy ‘Za Shisa’.

Kinniku Shojo Tai’s unpredictability is a result of every band member bringing something different to the table. ‘Za Shisa’ features a relatively large amount of the playful funk rock riffs that guitarist Toshiaki Honjo specializes in. Everything muscular, classy and melodic is the work of Fumihiko Kitsutaka, who in my opinion is one of the world’s greatest guitarists and arrangers. Founding bassist Yuichiro Uchida usually is responsible for the weird progressive and psychedelic stuff, while his co-founder Kenji Otsuki yells, speaks and sings everything together. That sounds like it may not work, but ‘Za Shisa’ proves it does.

The first peak of ‘Za Shisa’ arrives quite early. The elegant melodic hardrock of ‘Shogeki No Outsider Art’ is Kitsutaka in its purest form with a gorgeous chorus, after which the darker, vaguely Middle Eastern tones of the climactic ‘Occult’ account for one of the album’s most atmospheric moments. What follows is the most metallic track of the album; the aggressive speed metal of ‘Zombie River ~ Row Your Boat’ would not have sounded out of place on one of the band’s earliest releases. And like on those albums, the creative use of piano and dynamics lends gravitas to the energetic aggression.

After that, the album takes a slight dip. Not that ‘Naze Hito Wo Koroshi Cha Ike Nai No Daro Ka?’ and ‘Uchu No Hosoku’ are bad songs, it’s just too much consecutive tranquillity. The pace is picked back up quite quickly though, with the subdued seventies rock feel with spoken verses of the awesome ‘Marilyn Monroe Returns’ bringing Thin Lizzy’s ‘Johnny The Fox Meets Jimmy The Weed’ to mind. Uchida’s songs ‘Kenji No Zundoku Fushi’ and ‘Parallax No Shisa’ have the dynamic, haunting quality he excels at. The former has a pleasant stomp, while the way the guitar line and piano melody teasingly dance in unison on the latter is only the beginning of its ominous atmosphere. ‘Next Generation’ and ‘I, Toya’ are pleasant upbeat rockers.

Though ‘Za Shisa’ feels somewhat more laid-back, Kinniku Shojo Tai is still as weird and reluctant to stick to one genre as ever. As always, it may require some time to sink in, but it is a rewarding album for repeated spins. If you have not heard of the band before and need a western reference: imagine if Queen had embraced punk and further developed the metallic leanings of their first few albums. Now add a dash of Japanese weirdness to the mix. Sounds impossible? Tell that to them. They have been doing it for over thirty years.

Recommended tracks: ‘Shogeki No Outsider Art’, ‘Zombie River ~ Row Your Boat’, ‘Occult’

2018
11/04
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Interview – Lovebites’ international metal ambitions


Within Japan, but certainly also outside of the country, Lovebites has been doing well recently. After a couple of one-offs at festivals in England and Germany, the all-female metal band is about to embark on their first European tour. Not long after that, on December 5th to be exact, their second album ‘Clockwork Immortality’ will be released. Plenty of reason to catch up with guitarist Midori.

Performing outside of Japan has always been an ambition for Lovebites. Part of the reason for that is the European-tinged sound of the band. “We would like to play at places our style of metal originates from and is beloved at“, Midori explains. “Besides, there are many places in the world where metal is much more accepted than in Japan. We want to play at those places. These days, metal is not as big in Japan as some people think it is. We hope that our shows abroad will contribute to other bands from the Japanese scene being introduced to a more international audience.

We hope that metal fans all over the world want to listen to our music, regardless of if they have some special interest in Japanese culture or not. That is usually the type of audience you have to limit yourself to when your lyrics are all in Japanese. That’s why we thought it would be a better idea to write our lyrics in English. All our English lyrics are checked and corrected by native speakers or people who lived in English-speaking countries for a long time. They do not just pay attention to our choice of words and our grammar, but also the way the words are supposed to be pronounced. We want to do anything to improve and enhance our lyrics.”

Prejudice

“When I had just started playing guitar, my influences were mainly Japanese non-metal bands. Later on, I went to a music school and got involved with bands that played covers of modern metal bands, such as Pantera and Avenged Sevenfold. That created the basis for my current guitar style.”

That guitar style is notably different than that of her fellow guitarist Miyako, though Midori points out that they are a bit looser with that than they used to be: “Generally, I play flashy and aggressive solos, while Miyako plays slower, more melodic solos. That division is not that strict though. Sometimes we switch if it feels right. When we had just started, we thought it was very important that the two of us had a completely different style or technique, but these days, we don’t really care about that anymore.”

Midori is not the only Lovebites member that once started out playing different music. While she has been playing fairly aggressive metal for a while now, singer Asami never sang metal at all before joining Lovebites. “The best thing about that is that she had zero prejudice about which vocal lines were metal or not“, says Midori. “Her vocal lines are very natural and rooted in her own background, which is R&B and gospel. Her delicate, but powerful singing style really enhances the music of Lovebites. Her vocals have provided us with extra opportunities.”

Confidence

And yet, Lovebites’ music is deeply rooted in the European heavy and power metal tradition of the likes of Helloween and Iron Maiden. With all the high tempos and technical antics that come along with that. “Lovebites’ songs are fairly difficult to play“, Midori admits. “Most of them are pretty close to the edges of our capacities. If we practice one of the more difficult songs, we always start playing them at a slightly lower tempo. After that, we gradually raise the tempo bit by bit, so we can play them at the normal tempo confidently. That is something I do when I practice by myself, but also when we all play together.

My favorite artists have a lot of songs that I would love to play, but that are a little difficult for me. Those songs, I also practice by first playing them slowly and increasing the tempo as I go along. I am always looking for new songs that I would like to play. Sometimes, I keep the live situation in the back of my mind when I’m arranging guitar parts for Lovebites. But whenever it is necessary, I don’t have any problems with altering the phrasing of certain pieces a little.

As for myself, I am always working on new ideas for licks and phrases. When the production of our albums starts up, we always write the type of song we need at that particular moment. For instance, when we already have a bunch of fast songs, we could decide that it is time for a slower one. We work with several production teams and for the compositions, we frequently work together with Mao, Light Bringer’s keyboard player. All the guitar solos are written by Miyako and myself.”

Female-friendly

Save for their debut ‘The Lovebites EP’ (2017), all artworks of Lovebites’ releases have something in common. ‘Awakening From Abyss’ (2017), ‘Battle Against Damnation’ (2018) and the upcoming release ‘Clockwork Immortality’ all prominently feature a wolf on their covers. “Since metal is not a mainstream genre, the wolf symbolizes us being a ‘lone wolf’ in the music scene“, Midori explains. “We are planning to use the wolf on all of our releases. This way, he can become a character that belongs to the band, like Eddie from Iron Maiden, Vic Rattlehead from Megadeth or Johnny from Riot. That is why we are considering giving him a name.”

That is not the only visual aspect that makes Lovebites stand out. Not only is the quintet an all-female band in a scene where male musicians have long been the norm, they also dress in white. “Most metal bands dress in black“, Midori smiles. “That is why we thought it would be a good idea to dress in white to give the band something unique. Male musicians are still the majority in Japan, but a lot of great female musicians have come to prominence in recent years. We have the feeling that the current generation of metal fans really gives the music a chance rather than just watching how the band members look. I think the scene has become a lot more female-friendly.”

It is a trend among Japanese all-female metal bands to gradually drop metal elements from their sound and aim for something more pop-oriented. Midori reassures that this is not something to worry about in this case: “Our fan base consists of metal fans. They have supported us from day one. We are not planning to get off-track and have faith in the fact that we will continue to be a metal band.”

Variation

As said before, there is a new Lovebites album about to be released. What can we expect from ‘Clockwork Immortality’? “The album will largely feature the same sound that we had on ‘Awakening From Abyss’ and ‘Battle Against Damnation’“, Midori promises. “Our sound will still be rooted in power metal and feature notable influences from thrash metal and speed metal. However, we did experiment with the use of acoustic guitars. In addition, we tried to adopt a different approach than we usually do for some songs. This way, we still try to add a little variation to our sound.”

Remarkably, an international release date is yet to be announced for ‘Clockwork Immortality’. “We hope to be able to give this album an international release as well“, Midori says carefully. “Of course we are aware of the fact that hardcore fans import our cd’s from Japan, but we would at least like to offer the opportunity to buy the cd for a normal price. Fortunately, we have already received some positive feedback from a couple of labels outside of Japan.”

Differences between Japanese and European shows are largely practical, says the guitarist: “When we tour in Japan, we always have a big group of roadies with us. Because of that, all we have to do is play. Everything else is done for us. When we go to Europe, we have to do everything ourselves. In terms of the audience, there is not much of a difference. Both of the audiences are very warm and welcoming. One thing I do notice is that people in Europe sing along to our choruses louder. Sometimes the audience sings louder than the band. That never happens in Japan.

We use the exact same equipment in Japan as abroad. I’m using a Kemper digital amplifier, but when we play outside of Japan, I unmount it, so I can travel lighter, but still have the same sound. For this European tour, we will also leave our wireless systems at home. Furthermore, I have an endorsement with E-II Guitars, of which I will bring two. Both of them will have a Floyd Rose tremolo system, but I use them for different tunings. If there ever is a Kemper at the venue already, I will just have to bring a USB stick with the data. That would be even better.”

Lovebites will tour Europe in mid-November:

13 November: Haarlem, Netherlands – Patronaat
14 November: Essen, Germany – Zeche Carl
16 November: Hamburg, Germany – Logo
19 November: Aschaffenburg, Germany – Colos-Saal
20 November: Paris, France – Nouveau Casino
21 November: London, UK – O2 Academy Islington

There are two people who deserve extensive gratitude for this interview. First of all, Arlequin Photography for helping me set up the interview with Joël Heijda from the Patronaat crew. Also, a major “domo arigato” to Fubito Endo for translating Midori’s answers for me. This article is largely an English translation of the article published on The Sushi Times, albeit enhanced with some of the technical information on the Gitarist website.

2018
11/01
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Album of the Week 43-2018: Witherfall – A Prelude To Sorrow


Fans of dark progressive power metal are having a good few weeks. A week after the final recordings of Warrel Dane came out, Witherfall releases its incredible sophomore album ‘A Prelude To Sorrow’. Despite being aware of the other activities of guitarist Jake Dreyer (Iced Earth) and singer Joseph Michael (filling in for the aforementioned Dane in Sanctuary), this powerful combination of elements from various metal subgenres took me completely by surprise. With equal parts old school epic heavy metal melodicism and contemporary progressive touches, ‘A Prelude To Sorrow’ is a dynamic album that stays engaging all the way through.

Upon first listen, ‘A Prelude To Sorrow’ struck me as a more progressive take on the approach Winters Bane took on ‘Heart Of A Killer’, but that assessment may be influenced by Michael’s voice, which bears a strong resemblance to Tim Owens’ on that record. However, Witherfall is even darker and more adventurous from a songwriting perspective. Most of the songs are quite long, two of them even exceed the eleven minute mark, but they are over before one can realize how long they actually are. The immersive atmosphere certainly helps there, but atmosphere alone only takes you so far.

Musically, Witherfall’s sound is based upon a complex, but not needlessly virtuosic riff and rhythm department, upon which Michael builds some impressive multi-layered vocal mayhem. Keyboards are sometimes added to the mix as a subtle enhancement, but ultimately, Witherfall is really about riffs, rhythms, voices and occasional blazing lead guitar work. None of the elements ever become overbearing, because despite all their progressive leanings, the band knows that the songs and the melodies should prevail, however challenging they may be to execute. The songs generally feature a lot of twists and turns, but not so much that you lose track as a listener.

Naming highlights is not possible without mentioning the massive bookends ‘We Are Nothing’ and ‘Vintage’. The former is a masterpiece that almost feels like a three-part suite due to the acoustic middle section splitting up an otherwise monstrous, almost doom metal-like track, while the latter is a particularly epic power ballad in tribute to the band’s deceased drummer Adam Sagan. The powerful ‘Moment Of Silence’ has an oppressively dark atmosphere and ‘Shadows’ constantly moves from aggressive to mournful and back remarkably effectively. ‘Ode To Despair’ proves that metal bands can do power ballads without immediately sacrificing their power.

Anyone who listens to the likes of Nevermore, Morgana Lefay, ‘In Search Of Truth’-era Evergrey and Sanctuary’s ‘Into The Mirror Black’ should certainly give ‘A Prelude To Sorrow’ a spin. Though the music is highly atmospheric and Michael’s vocal delivery is fairly theatrical, the compositions and performances are so powerful that even those who are generally discouraged by such terms might enjoy this. Although I was aware of the individual skills of the musicians involved, ‘A Prelude To Sorrow’ overwhelmed me upon first listen and has enough interesting details to keep surprising me every time I put it on again. That may end up happening a lot.

Recommended tracks: ‘We Are Nothing’, ‘Moment Of Silence’, ‘Vintage’

2018
10/28
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Album of the Week 42-2018: Warrel Dane – Shadow Work


‘Shadow Work’ is a bittersweet affair. While it is good to have a new album with Warrel Dane’s vocals, he died during the recordings of the album in São Paulo, making this the last time we are treated to new material by Dane, who I consider one of the best metal singers of all time. One thing his fans can rejoice about is the fact that his unexpected farewell album is incredible. It is a dark, twisted record that should please all fans of Nevermore and Sanctuary, save for maybe those who only enjoyed the earliest work of the latter.

Dane’s solo debut ‘Praises To The War Machine’, released ten years ago, sort of felt like “Nevermore light”. While it sounded similar to his main band, it had a simpler, more open sound, with the virtuosic technicality of his main band reduced to a minimum. By contrast, ‘Shadow Work’ is heavy as it gets with some impressive playing by Dane’s Brazilian backing bang. Guitarists Johnny Moraes and Thiago Oliveira must be fans of Jeff Loomis or at least must have studied his work closely. Their heavy riff work and melodic ornamentation certainly would not sound out of place in Nevermore.

Where ‘Shadow Work’ does distinguish itself is its atmosphere. The intense ‘Madame Satan’ and the nearly extreme metal of the intro to ‘The Hanging Garden’ are quite possibly the darkest stuff Dane ever worked on. The guitar work manages to be vicious and atmospheric at the same time, the compositions take a few unexpected turns and Dane’s emotional vocals give this stuff a melodic dignity that many progressive death metal bands can only dream of. ‘Disconnection System’ sounds closest to Nevermore (and even recycles a bit of the lyrics of ‘The Politics Of Ecstacy’) and would therefore be the best track here to sample before diving into the album.

Metal was never Dane’s only ace in the hole though. Much of his increasingly equipped lower register has a strong gothic quality to it, which fits the ethnic sounds of the overture ‘Ethereal Blessing’ perfectly. The closing epic ‘Mother Is The Word For God’ features him snarling, bellowing, begging and whispering into your soul, truly enhancing the constantly shifting moods of the song. The track has echoes of Nevermore’s ‘This Godless Endeavor’, without sounding like a copy. The arena rock vibe of ‘As Fast As The Others’ and the ballad ‘Rain’ are slightly more accessible, but no less gloomy.

It would be tempting to call ‘Shadow Work’ unfinished. It was supposed to be an eighty minute record (instead of slightly over forty) and I’m sure Dane would have polished up a few vocal lines had he lived long enough to do so, but complaining about that would be missing the point entirely. Dane’s band deserves all the praise they can get finishing these recordings as well as they did and the singer’s emotional, dramatic delivery is exactly what makes ‘Shadow Work’ the goosebumps-inducing experience it is. Sure, it’s a little rough around the edges sometimes, but that doesn’t deter from the fact that this is easily the best album with Warrel Dane singing in thirteen years.

Recommended tracks: ‘Madame Satan’, ‘Shadow Work’, ‘Mother Is The Word For God’

2018
10/21
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Album of the Week 41-2018: The Tea Party – The Edges Of Twilight


Curiosity about world music is natural for every rock band inspired by Led Zeppelin’s latter days. Very few make the leap of actually learning to play indigenous instruments beyond some rudimentary percussion though. This is exactly what The Tea Party did to further emphasize their – mainly – Indian and North African influences on ‘The Edges Of Twilight’. It takes the idea of incorporating these sounds further than just adding some melodies that vaguely sound like the western idea of Arabic or Indian music. And quite surprisingly, the Canadian trio manages to still sound like a powerful rock band while doing so.

Ever the ambitious band, The Tea Party created a densely layered album, but in a way that can also be played with just three people. The arrangements on ‘The Edges Of Twilight’ are securely anchored within their trio line-up, after which bassist Stuart Chatwood and singer/guitarist Jeff Martin have added touches of traditional instruments. However, the world music is in Martin’s Gibsons almost as much as it is in the indigenous instruments through extensive use of twelve string guitars and Indian and Arabic minor scales. It all accounts for an immersive listening experience that is slightly dark, but never depressive.

Since the band’s earliest shows, they have been accused of copying Led Zeppelin and borrowing a string phrase from ‘Kashmir’ in opening track ‘Fire In The Head’ probably wasn’t very beneficial to dispelling that criticism, but the fact is that there is much more to the song than that. Martin’s deep voice sets the somewhat seductive tone of the tune immediately and the riff work is extremely powerful. Even more powerful is the following ‘The Bazaar’, on which a monumental guitar riff is doubled by Chatwood’s harmonium. The song is relatively simple in construction, but still manages to move through several moods.

Highlighting the album are undoubtedly the epics ‘Sister Awake’ and ‘Walk With Me’. The former starts out as a calm, folky tune, but quickly builds from an exciting percussive middle break to a monster of a dark rocker, while ‘Walk With Me’ manages to combine the gloomy atmosphere of most of the album with a begging, almost bluesy character. ‘Silence’ and ‘Drawing Down The Moon’ have a more traditional bluesy inclination, with the latter having a truly incredible climax. ‘Correspondences’ is a gorgeous, dynamic ballad, while ‘The Badger’, ‘Shadows On The Mountainside’ and ‘Inanna’ are calmer songs that draw on folk influences from all over the world.

Ultimately, my only criticism of this album would be that ‘Turn The Lamp Down Low’ feels a little out of place on the record by being straight blues with added percussion, but the song itself is really good. As a whole, ‘The Edges Of Twilight’ is a very exciting album that takes a lot of interesting turns, despite their only being three guys. Martin and Chatwood should be happy that they can depend on a solid power hitter like Jeff Burrows, but it also helps that all the songs are extremely well-written. As for the accusations of being a Led Zeppelin copy: I’d say they took one idea Zep had and developed it further with spectacular results.

Recommended tracks: ‘Sister Awake’, ‘The Bazaar’, ‘Drawing Down The Moon’, ‘Walk With Me’

2018
10/14
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Album of the Week 40-2018: Saber Tiger – Obscure Diversity


It is difficult for me to be objective about the new Saber Tiger album, having made a minor contribution to its production, but the fact is that ‘Obscure Diversity’ would have excited me regardless. Saber Tiger won me over with their intense combination of traditional heavy metal and contemporary progressive touches a long time ago. ‘Obscure Diversity’ miraculously manages to explore the possibilities of that trademark style more extensively than anything the band released since ‘Timystery’ whilst simultaneously sounding more streamlined than their previous efforts. This makes ‘Obscure Diversity’ an extremely pleasant listen that reveals several secrets over multiple spins.

Once the surprisingly theatrical intro ‘Daguerrotype Of Phineas Gage’ is over, ‘The Crowbar Case’ seems to suggest we are getting a more aggressive take on Saber Tiger’s sound here. The opening riff is thrashy, almost Bay Area-styled in character. When this type of riffing mixes with the band’s tried and tested sense of melody and drama later on, a winning combination is found. This type of high velocity meets supreme sense of melody metal can also be found in the pulsating ‘Permanent Rage’, the dense, stomping and climactic ‘Beat Of The War Drums’ and to a lesser extent the album’s first video ‘The Worst Enemy’.

Uptempo aggression is hardly the only thing the band goes for on ‘Obscure Diversity’, however. After all, its title delivers a promise to live up to. In that respect, the first contribution bassist hibiki made to the Saber Tiger canon is a real winner. ‘Distant Signals’ takes all the melodic and especially progressive influences people may expect from his history with Light Bringer and combines them with all of Saber Tiger’s trademark aspects to create a gorgeous dynamic metal track that truly allows singer Takenori Shimoyama to shine. ‘Distant Signals’ is a unique track, but it makes complete sense within the context of ‘Obscure Diversity’.

Dynamics are also key in ‘The Shade Of Holy Light’ and ‘The Forever Throne’. Technically, both of these tracks would qualify as semi-ballads, but they are much darker and more atmospheric than one would usually predict from that description. This approach provides all the room that guitarists Akihito Kinoshita and Yasuharu Tanaka need to play at their most passionate. Their spectacular guitar work is a main attraction of Saber Tiger anyway. ‘Stain’, for instance, is full of incredible lead guitar work even outside of the solos. Their trade-offs are incredible. The solo spots for hibiki are relatively limited in number, but when he does get them, it does not take long to realize he is one of the best bass players in Japan.

More than 35 years in the music business does not appear to be slowing down Saber Tiger. In fact, this decade has arguably been the most consistent of their career. Relative youngsters hibiki and Yasuhiro Mizuno form an incredible rhythm section that is both intense and complex, upon which Tanaka and Kinoshita can build their timeless riffs. Shimoyama is also as passionate as ever. But how can he not be with such an incredible set of songs to work with? ‘Obscure Diversity’ is a no-brainer for anyone who enjoyed Saber Tiger’s last few releases, but the more adventurous fans of the likes of Nevermore and Iced Earth  should certainly give this a chance as well.

Recommended tracks: ‘Distant Signals’, ‘Beat Of The War Drums’, ‘Permanent Rage’

2018
10/07
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