Posts Tagged ‘ Atsushi Kuze ’

Album of the Week 14-2019: Jupiter – Zeus ~Legends Never Die~


Multiple times over the last few years, I had feared that Jupiter would disband. There have been several line-up changes and I thought the final nail in the coffin would be the reformation of Versailles, the hugely popular, but slightly inferior band that almost the entire original line-up came from. These developments alone would be enough reason to be happy with the release of their third album ‘Zeus ~Legends Never Die~’. But it’s also really, really good. New kid and former Concerto Moon singer Atsushi Kuze fits the band amazingly well and the album is probably Jupiter’s most consistent to date.

Jupiter does not suddenly sound different on ‘Zeus ~Legends Never Die~’. The music is still high octane symphonic power metal with prominent influences from progressive metal and melodic death metal, as well as plenty of room for the impressive dexterity of guitarists Hizaki and Teru. In fact, some might argue that the inclusion of two tracks from the spectacular single ‘Theory Of Evolution’ and two that were previously recorded with former singer Zin further diminishes the surprise impact of the album. Kuze’s somewhat husky hardrock voice further broadens the appeal of Jupiter outside of the visual kei scene, however, and the impact his voice had on Hizaki’s songwriting is significant.

Now, Hizaki has a way of making singers better. He managed to make Kamijo sound semi-acceptable in Versailles, Juka’s best vocal performance was on his ‘Dignity Of Crest’ album and he transformed Zin into one of the best singers in the visual kei scene. Anticipating what would happen if he worked with Kuze’s already impressive set of pipes was half the fun of waiting for ‘Zeus ~Legends Never Die~’ to be released. And to be brief: the album contains Kuze’s best vocals to date. He does not do anything radically different from what he did in Concerto Moon and Screaming Symphony, but he’s like a fish in the water with the bombastic, theatrical material that Hizaki wrote for the album.

With Kuze being a hardrock singer first and foremost, it is notable that the songwriting plays to these strengths. ‘Drastic Night’ has a seventies hardrock vibe due to the simple, but brutally effective main riff and the inclusion of a Hammond organ, but manages to sound contemporary power metal enough to make perfect sense on the record. More dramatic tracks, like the highly dynamic ‘No Cry No More’ and the absolutely sensational ‘Straight Into The Fire’ could not have been written for any other singer. The most powerful choruses, such as the ones for ‘Theory Of Evolution’ and the long closing epic title track really profit from having a singer with significantly more power than the average visual kei frontman.

To those who were afraid that Zin’s departure would result in Jupiter shunning their melodic death metal songs: rest assured. In ‘Tempest’ and the previously released ‘Angel’s Wings’, the album contains two tracks that feature prominent melodeath influences. The former sounds a little like a mash-up of Galneryus’ neoclassical abandon and Jupiter’s own ‘Allegory Cave’, while the latter has a mind-blowing final chorus. Both rely heavily on aggressive, borderline thrash metal riffing. Kuze does not yet have the versatility in his growls that Zin had, but there is almost a hardcore-like quality to their blunt aggression. Something which also works surprisingly well on the last section of the lone Teru composition ‘Show Must Go On’, a powerful modern hardrock track.

Out of the songs that had already been recorded with Zin, ‘The Spirit Within Me’ really takes the cake. Not only does it have what is possibly the best riff of the album, the song fits Kuze’s voice so perfectly that it’s hard to imagine it had not orignally been written for him. It is kind of ironic that one works so well, as ‘Tears Of The Sun’ underwent a more significant change, being transposed to a different key. Relatively new drummer Daisuke played on the original versions of both of these tracks, but his contributions to ‘Zeus ~Legends Never Die~’ should not be overlooked, as his playing is incredible. He has all the skills that his predecessor Yuki also had, but he appears to be a little more understated and serviceable, which does sound a little weird, given the fact that a track like ‘Theory Of Evolution’ is basically fifty percent blazing fills and ‘The Spirit Within Me’ has some of the most impressive double bass rolling I have heard in recent years.

As a whole, ‘Zeus ~Legends Never Die~’ could be the start of a new era for Jupiter. People who liked their music before should have no issue with the record, but the inclusion of a singer with the type of voice that usually is not associated with visual kei really opens them up for people who generally stay away from the scene. In addition, every single song on the album is worth hearing. ‘Memories Of You’ goes on a bit long near the end, but the darker first half of the song is the best ballad-esque bit Hizaki has written to date. Everything else is a perfect blend of power metal, hardrock, progressive metal and melodeath. If that sounds right up your alley, you can’t go wrong with ‘Zeus ~Legends Never Die~’.

Recommended tracks: ‘The Spirit Within Me’, ‘Straight Into The Fire’, ‘No Cry No More’, ‘Theory Of Evolution’

Album of the Week 29-2018: Concerto Moon – Savior Never Cry


In the light of Atsushi Kuze joining Jupiter, his works with Concerto Moon have been receiving more than a few spins in my household. I have been fairly critical of Kuze’s competent, but somewhat Dokken-ish voice in the past, but there is one Concerto Moon album on which he is really pushed to his best performance thus far and that is ‘Savior Never Cry’. Of course, the fact that the band sounds at their heaviest and most aggressive here works miracles as well. The fact that their classy, hardrock-inspired melodicism is not sacrificed is an impressive achievement in its own right.

Somehow, I think I prefer Concerto Moon without a keyboard player. The keys are indispensable for their early progressive hardrock meets neoclassical power metal approach, but on ‘Savior Never Cry’, band leader Norifumi Shima’s riffing takes center stage. His sound appears to be just a tad heavier too, to the point where it’s hard to believe that he’s actually playing a guitar with single coils. This powerful, bottom-heavy sound really pushes Kuze to a performance that foregoes his usual gentle rasp in favor of a throaty, full-force approach that is not too dissimilar to what Yukio Morikawa does with Anthem.

Concerto Moon certainly proves that the first strike is deadly. The opening title track of the album’s predecessor ‘Angel Of Chaos’ was already impressive, but ‘Savior Never Cry’ really has the band firing on all cylinders. Shima’s riffs are thick and tasteful, Masayuki Osada’s drumming is pulsating and punishing and Kuze is inspired to do some of his most intense screaming yet. The rumbling double kick work and heavy riffing is continued on the following ‘Straight From The Heart’, which I consider one of Concerto Moon’s most underrated tracks to date. Its eighties Dio-esque vibe is simply irresistible.

From then on, the album does not get quite as heavy anymore, though the speedy closer ‘Slash The Lies’ – which inexplicably only is a bonus track – comes pretty close. The heaviness is hardly missed though. The fact that Shima (mostly) has to fill his end of the sonic spectrum by himself results in very powerful hardrock and heavy metal tracks like ‘Lay Down Your Life (To Be Free)’, ‘Over The Fear’ and the midtempo ‘In My Dream’. Even the ballad ‘Lovers Again’, often a weak point for Japanese bands, is surprisingly good. Only ‘The Shining Light Of The Moon’ is a little too watered down for my taste.

Norifumi Shima and Concerto Moon were obviously on a roll around the turn of the decade. ‘Angel Of Chaos’ is one of the band’s best albums, but ‘Savior Never Cry’ ups the ante in terms of heaviness, compositional quality and vocal performance. After the release of ‘Savior Never Cry’, Concerto Moon would continue in a somewhat more hardrock-oriented direction. Quite accomplished hardrock too, but after being infatuated with the almost ‘Painkiller’-like intensity of this album’s title track, it’s difficult to settle for something else. ‘Savior Never Cry’ is highly recommended to anyone who longs for the time when hardrock and heavy metal weren’t two separate things yet.

Recommended tracks: ‘Savior Never Cry’, ‘Straight From The Heart’, ‘Slash The Lies’