Posts Tagged ‘ Heavy Metal ’

Album of the Week 36-2018: Alice In Chains – Rainier Fog


A twisted riff, an overall gloomy vibe, haunting vocal harmonies… Opening track ‘The One You Know’ leaves very little doubt that we are listening to Alice In Chains. This could be interpreted as a lack of originality, but since Jerry Cantrell and his cohorts single-handedly developed and perfected this style, why bother doing anything else? Especially since ‘Rainier Fog’ finds the Seattle-based band doing their own thing so well. Though it lacks the urgency that their comeback album ‘Black Gives Way To Blue’ and their masterpiece ‘Dirt’ had, it is more memorable than its predecessor ‘The Devil Put Dinosaurs Here’.

When original lead singer Layne Staley died, it took Alice In Chains surprisingly little time to find their footing with William DuVall. As a result, the band sound really comfortable with their own style this time around, especially in jam-oriented tracks like the Zeppelin-esque ‘Drone’. That also means the miserable darkness of songs like ‘Frogs’ and ‘Down In A Hole’ is not quite reached here, though the absolutely gorgeous closer ‘All I Am’ does come close with its somber acoustic basis and eerie electric touches. Due to its powerful dreary harmonies in both the vocal and the guitar department, ‘Deaf Ears Blind Eyes’ is another song that would not have sounded out of place on an early Alice In Chains record.

Though good enough, ‘The Devil Put Dinosaurs Here’ was short on true highlights. By contrast, ‘Rainier Fog’ has a few songs that immediately stick, the title track being one of them. It moves from a typical Alice In Chains mid-tempo rocker with a great chorus to a cathartic tranquil middle section that truly highlights the dual lead vocals of DuVall and Cantrell. Furthermore, ‘The One You Know’, the particularly powerful ‘Red Giant’ and – surprisingly – especially DuVall’s composition ‘So Far Under’ have all the trademark Alice In Chains elements in place without having the band sounding like they are on auto-pilot.

One area where ‘Rainier Fog’ truly outshines its predecessor is the ballads. Initially, all but ‘All I Am’ seemed to suffer from the same flaw as the ones on ‘The Devil Put Dinosaurs Here’ – being good, but unremarkable – but repeated spins bring out their qualities. ‘Maybe’ fluently goes through several moodswings and ends up being one of Cantrell’s best ballads by sheer unpredictability, while ‘Fly’ is a rather typical Cantrell ballad, though its chorus and guitar solo are delightfully climactic. Even the relatively upbeat ‘Never Fade’ manages to be highly convincing, with great performances by both DuVall and Cantrell, culminating in what is easily the most unforgettable chorus on the record.

Like most of Alice In Chains’ albums, ‘Rainier Fog’ is a bit of a grower. It appears to be immediate at first spin, but there are too many subtleties here to play it once and then toss it aside. Fortunately, the album has plenty of replay value. Aside from the incredible songwriting – this is Jerry Cantrell, after all – the great production does wonders as well. Sean Kinney’s drums sound very natural and even Mike Inez’ bass isn’t buried beneath everything else. With Alice In Chains’ style being as distinctive as it is, ‘Rainier Fog’ is unlikely to draw new listeners in, but it is indispensible for people who loved them before. It might even surpass their expectations.

Recommended tracks: ‘All I Am’, ‘Rainier Fog’, ‘Deaf Ears Blind Eyes’, ‘Red Giant’

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Interview: Loudness and the Japanese hardrock scene


Loudness was one of the first Japanese bands that also had some success in Europe and North America. Partially due to the MTV success of ‘Crazy Night’ and Akira Takasaki’s status as a guitar hero, but according to singer Minoru Niihara, Loudness also was lucky enough to be at the right place at the right time. We spoke with Niihara prior to the concert in Alkmaar, at which Loudness promoted its 27th studio album ‘Rise To Glory’.

After the previous album ‘The Sun Will Rise Again’, we had to wait over three and a half years for ‘Rise To Glory’. And that is quite surprising, as the band has been releasing new albums just about every year since the original lineup of Niihara, Takasaki, bassist Masayoshi Yamashita and drummer Munetaka Higuchi reunited around the turn of the century. Even after Higuchi passed away in 2008, there were hardly any delays in their release schedule. “We needed the extra time“, Niihara confesses. “In addition, we needed to look for a new record label, because our previous contract expired. In the meantime, Akira kept on writing new songs. Because of that, we could select the best material.

For his lyrics, Niihara employs a rather unconventional approach: “I think of a theme and write down my thoughts about that, just some ideas and lines in Japanese. After that, three friends of mine help me turn it into a complete set of lyrics. They have been raised bilingual in California and live in Japan these days. They speak perfect Japanese and because of that, they know the weaknesses of Japanese people speaking English. You could say they fix it. Many Japanese people need someone to tell them what is wrong with their English. There hardly is any need to speak or write English when you live in Japan. Even at the universities, classes are in Japanese.

Timing

When Loudness was founded in 1981, there were no heavy metal bands in Japan. “Before us, you only had Bow Wow from Tokyo and Murasaki from Okinawa“, Niihara confirms. “And those bands weren’t really heavy metal, because we didn’t know that back then. They were hardrock bands. I’m from Osaka, where a lot of young British hardrock bands performed. I was in a school band with which we played covers of Deep Purple and Led Zeppelin. But professional hardrock bands? We didn’t have those in the seventies. There were lots of people who listened to western hardrock, but no one played the music themselves. I don’t actually know why either.

We were lucky. Around the time we released our debut album (‘The Birthday Eve’, 1981), the new wave of British heavy metal became really popular in Japan. Bands like Iron Maiden and Saxon were very popular. That made people curious about our music, because we were a Japanese band that also made this type of music. Our timing turned out to be perfect. Young rockers loved us and Akira became a guitar hero. He actually already was when he played with Lazy. That was a pop group, but his playing was amazing. When he was seventeen, he was already known as a great guitar player.

Sold out

Before I joined Loudness, I have talked to some people who worked for record labels. When they heard I wanted to play hardrock, all of them said: that’s old, no one will buy that. After we received a gold record for the first Loudness album, the same people suddenly told us that they knew our music would become big. Bullshit! Some of these guys even literally said we would never go anywhere.

Things went differently. Loudness became a big success in Japan. “Every place we played was sold out“, says Niihara. “And then we’re talking about two to three thousand capacity venues. While we only had one album out. After that, more and more bands that kind of sounded like Loudness popped up. Every record company tried to sign its own Loudness. The positive thing about that is that many Japanese hardrock bands got the chance to release an album. Two or three years after our debut album, Japanese metal was very popular.

San Francisco

After a while, the scene slowed down a little. Our sound engineer and friend Daniel McClendon, who is from San Francisco, asked us why we wouldn’t just go to the States for a couple of shows someday. In Japan, we had achieved just about everything we could achieve. In 1983 we went to California for a couple of concerts, just to see what the possibilities were for us. We did four shows in San Francisco and two in Los Angeles.

The audience in San Francisco was insane. There was a very active, hardcore underground heavy metal scene there. We met bands like Metallica and Slayer there when they weren’t much more than local bands. That kind of surprised me, because the image I had of music from San Francisco couldn’t be more different. I thought of relaxed rock music like The Doobie Brothers and the Eagles. Our shows were attended by young guys who were looking for new heavy metal, however. We didn’t even know how all these people knew about us, because we hadn’t released a single album in the States yet.

Later on, we found out that they traded tapes with each other. Metallica’s drummer Lars Ulrich was one of those fanatic tape traders. He also already knew Bow Wow, for instance. There was even a record store in San Francisco that imported our lp’s. Their owner really helped us simply by playing our music to people who might be interested in us. That way, Loudness could already build an audience before we ever played in the States.”

Identity crisis

Thanks to the presence of an A&R manager of the big Atlantic Records label, Loudness became the first Japanese metal band that signed with a major label in America. Initially, that was fruitful: ‘Crazy Nights’ and the accompanying album ‘Thunder In The East’ (1985) became a big success. When it turned out difficult to retain that success, friction developed within the band, which eventually lead to Niihara’s departure. A couple of years later, Yamashita left as well.

In the nineties, Loudness underwent a sizeable identity crisis. With the American singer Mike Vescera, the band recorded two albums that were obviously aimed toward the Californian glam metal scene, only to follow that up with the incredibly heavy ‘Loudness’ (1992) with singer Masaki Yamada (ex-EZO) and Taiji Sawada, who had just left X Japan at the time. After that, Loudness appeared to follow the alternative metal trend, though without Sawada. In the meantime, Niihara was occupied with bands like Ded Chaplin, Sly and X.Y.Z.→A.

Mature

The turning point arrived around the turn of the century, when Loudness’ classic line-up reunited, allegedly on the recommendation of Masaki Yamada. “Akira says that’s what happened“, Niihara says. “I think Akira had the idea to bring the original guys back together again himself as well. Around that time, Masaki told him the time was right for a reunion. Maybe it just had to happen. Our twentieth anniversary was upcoming and Akira wanted to do something special for that occasion.

It was supposed to be a reunion for maybe one or two years, but after our new album (‘Spiritual Canoe’, 2001) and the tour, the fans begged us to continue with the same line-up. We got together to talk about it and nobody actually wanted to quit. Everyone was curious to see where else we could go. And we wanted to play in Europe again, so we just tried it. And we’re still here! We’ve been around longer now than we were together in the eighties.

Niihara does have an explanation for that. “We are older and wiser“, he laughs. “We sometimes think back to those days and realize we were a bunch of idiots. We drank too much and we were acting really stupid sometimes. These days, we have families and children. We have become a lot more mature.

The singer did not listen to the albums he did not sing on until after the reunion. “In the nineties, I was too busy with my own music“, he explains. “And besides, I was trying to leave Loudness behind me. They kicked me out, after all. After the reunion, we had to play some songs from the albums recorded with Mike and Masaki. It wasn’t until then that I started listening to the material from those days. And I was really impressed! Mike Vescera sings great on those two records!

Recovery

During this tour, the drum stool is occupied by Ryuichi ‘Ryu’ Nishida, who worked as a session drummer with the likes of Gackt and Marty Friedman and is a part of the instrumental rock band Ra:IN with X Japan guitarist Pata. Earlier this year, Masayuki ‘Ampan’ Suzuki, who replaced Higuchi after his death, was hit by a stroke. “He is working hard on his recovery“, Niihara reassures. “There are some problems with the right side of his body. He has trouble talking and holding his drum sticks.

We are just happy that he’s still there. There are so many people who die from the same conditions. We hope he can play a couple of songs with us by the end of the year. More than a couple of songs is really too much for him at this point. We told him: please take your time, don’t rush. When he’s ready, we will go for it again. We are fortunate enough to have a fantastic drummer like Nishida helping us out.

A Dutch version of this interview can be read at The Sushi Times.

Album of the Week 33-2018: Fates Warning – Darkness In A Different Light


Prolific is a thing Fates Warning has not been for a while. At the time of its release, ‘Darkness In A Different Light’ was only the fifth Fates Warning album 22 years and their first in almost a decade. Maybe they needed the time to recharge their batteries, because it is easily their best in a long time. While no Fates Warning album is ever less than decent, much of the material released prior to ‘Darkness In A Different Light’ lacked either assertion (‘FWX’) or melodic content (‘Disconnected’). However, this album restores the balance that is so essential for progressive metal.

Stylistically, ‘Darkness In A Different Light’ is not too far removed from ‘Sympathetic Resonance’, the album guitarist Jim Matheos recorded with original singer John Arch. The riff work is heavy, but there is an abundance of melodic and atmospheric touches to give the material depth and lasting power. The biggest difference between the two albums is defined by singer Ray Alder, who has a much darker and more emotional tone than Arch. And while his range has not aged perfectly, the emotional impact of his delivery is impressive, resulting in what is arguably his best singing since the rather vocal-centric ‘Parallels’.

While ‘Darkness In A Different Light’ is no stylistic detour – it basically blends the heavy punch of ‘Disconnected’ with the melancholic melodicism of ‘Parallels’ – something feels fresh and more metallic about the album. My suspicion is that switching drummers had some influence on that. Mark Zonder’s skills are unquestionable, but he also has a tendency to overplay. Bobby Jarzombek is every bit as technical, but understands that even in its most complex form, heavy metal should be driven and energetic. The return of longtime guitarist Frank Aresti can also be felt in the lead guitar department, though it is still pretty much Matheos’ album.

At its best, ‘Darkness In A Different Light’ can certainly be compared favorably to Fates’ classic material. ‘Firefly’ is a gorgeous song that blends crushing riffing with a fantastic chorus, while ‘And Yet It Moves’ closes the album in a particularly epic fashion. It forsakes the suite-like nature of many long progmetal tracks in favor of a more song-oriented approach to the point where I didn’t realize I was listening to a 14 minute song until the acoustic part before the finale reared its head. The darkly brooding ‘Lighthouse’ is one of the most brilliantly atmospheric tracks in the band’s discography.

If there is anything to criticize about ‘Darkness In A Different Light’ is that it takes a slightly too obvious cue from bands that commenced their activities after Fates Warning did at times. The influence of Porcupine Tree pops up every now and then and ‘Kneel And Obey’ has a distinct Alice In Chains vibe. That is hardly an issue that ruins the listening pleasure of the album though, as it easily is one of the better progressive metal albums in recent years. Fates themselves would eventually outdo it with the slightly more consistent ‘Theories Of Flight’ three years later, but fans of intricate, yet heavy and melodically strong music should enjoy this immensely.

Recommended tracks: ‘Firefly’, ‘And Yet It Moves’, ‘Lighthouse’

Interview – Ryoji (Gyze): “The future of heavy metal is in Asia”


By competing in the Wacken Metal Battle, related to the famed Wacken Open Air, Gyze has been one of the few Japanese metal bands that has made something of a career for themselves in Europe. Not that that should be too surprising, as the folky melodic death metal of the trio has quite some common ground with the Finnish metal scene. And yet, through the use of Oriental folk elements, they have their own identity. Recently, their new single ‘The Rising Dragon’ was released internationally. Within this context, we talked with singer, guitarist and keyboard player Ryoji Shinomoto.

We believe that heavy metal has no borders“, Ryoji emphasizes. “We love playing in Japan as well as in Europe. But even within Japan, every city is different. The audience reaction varies from place to place.  I do love playing festivals. The energy at a festival is so different from solo shows. But we always play our best no matter where we are. The only funny difference is that announcements in English are easier to do for me than in Japanese. I always feel nervous speaking in front of an audience in Japanese, haha!
The announcements aren’t the only aspect in which the band has to switch between English and Japanese. Gyze also offers lyrics in both languages. “English is easier for me, because Japanese has a different rhyming technique“, the frontman admits. “Also, English sentences are sometimes much shorter. However, when we decide to use Japanese for the lyrics, I always choose to use difficult characters, archaic words and four character proverb.” Smiling, he adds: “So usually, even Japanese people can’t read our lyrics.
‘Day Of The Funeral’ from our first album, ‘Nanohana’ from our second album or our new single ‘Ryugin’ are like a story from a book, which is easy to write and read. ‘Brown Trout’, ‘Trash My Enemy’, ‘Frozen Dictator’ and ‘Horkew’ are more interesting and difficult lyrically. When people listen to ‘Horkew’, they might here English words there, but actually, the lyrics are totally in Japanese. It happens because I chose words that would sound similar to English to make it more interesting. For instance, “(mita)sarenai” sounds like “silent night”.
Also, we have some themes on our albums. The first album is filled with energy, with songs about revenge, regrets and anger. The second: regrets, sadness, love and war. The third album is about the Ainu people, the indigenous people of Hokkaido. Apart from that, there are human emotions, Japanese gods and, well… Fish! Our new single contains two new songs: ‘Japanese Elegy’ is about war and ‘Ryugin’ is a positive song about Gyze and the future.

Find an audience

Of course, the Ainu are not a random theme; Gyze is also from Hokkaido. Traditionally, this is a difficult area to conquer the music market from even within Japan. “Actually, I never thought about that“, Ryoji admits. “As far as I know, no band from Hokkaido has ever succeded at conquering the international metal market. Moreover, Gyze happened to be the first Japanese bands – not just from Hokkaido – to perform at many world famous festivals. But I love Hokkaido and I am proud that I am from there.
There are not many Japanese bands who dare to tour internationally. “The first reason is that Japanese people can’t or don’t want to use English“, says Ryoji. “Furthermore, Japan is an island country. There is a big cultural difference. But please, listen to as many Japanese bands as you can, then it might become easier for them to find an audience overseas. As long as you listen to Gyze first, of course, haha!
Offering Asian bands a platform has been important to Ryoji for quite some time now. In 2015, Gyze was involved with organizing Vanishing Heaven Fest, which besides Japanese bands also featured bands from Taiwan and South Korea. “Recently, my favorite metal bands are from Asia and Eastern Europe“, Ryoji explains. “The European metal scene consists of the classics. That is not necessarily a bad thing, but the line-ups of festivals and the bands featured in the media are getting a bit predictable. The Asian metal market, however, is just starting to grow. There are a lot of unique and varied bands here. That’s why I believe that the future of heavy metal is in Asia.

Ideal sound

Gyze only has three members. Bassist Aruta Watanabe and Ryoji’s younger brother Shuji complete the line-up. Still, the music has a lot of different elements. Besides the guitars, bass, drums and vocals, keyboards and several traditional instruments can be heard. “On stage, I only play lead guitar“, Ryoji explains. “But on the cd’s, I always want to create the ideal sound. If when composing I feel like using a certain instrument, I will. That’s why we have songs with shamisen, violin, keyboards, harmonic guitars and so on. That ideal sound is not just me of course, because Shuji and Aruta’s sounds are equally important.
I always use the piano for composing and I really care about notes and music theory. First, I check all the notes and tuning by piano. And if I find some odd sounds, I always fix them. Even for the bass. When I just started composing heavy metal, I just relied on my sense. If I felt like the sound was messy, I just deleted the part. Recently, we started checking the bass lines through midi. Aruta and I check the tuning, the scales and the notes of his parts. The same appeals to the drums with Shuji. All these checks and precautions help to avoid turning things into a mess. Especially if we start playing the songs at full speed.
Of course the parts are important, but to really make heavy sounds, speed and melodies sound as one, mixing and mastering is just as important. That is why we are considering remixing our second album to make it sound even better.
For te mix and even the album covers, Gyze has exclusively worked with European engineers and artists thus far. “The funny thing is that we have never worked with Japanese engineers and designers“, Ryoji smiles. “Our first engineer was Ettore Rigotti from Disharmonia Mundi. I was a big fan of his band. Then from the third album on, we started working with Ahti Kortelainen. I love his sound and of course, he has experience with a lot of great heavy metal bands like Sonata Arctica and Kalmah.
All our album covers thus far have been designed by Machine Room (Rhett Podersoo). We were introduced to him by Ettore and his style touched my heart. His works are elegant, gorgeous, unique, modern and powerful. We hope to be able to use his artworks until the end.

Essence

Traditionally, visual kei and the “regular” metal scene are two separate worlds in Japan. And though Gyze is closer to the latter, the band has a number of pronounced visual elements and Ryoji recently shared the stage with Jupiter. “Visual kei is not a music genre, just a style“, he emphasizes. “There is a heavy metal sound in visual kei, but there is a punk sound as well. Gyze doesn’t need to be categorized. If someone wants to label us as visual kei, that’s fine with us. When people listen to our music, everyone can understand within one second that it is heavy metal.
Ryoji’s initial influences were not Japanese bands: “When I was about seven or eight years old, I got a guitar from my father and played classical guitar until junior high school. The first rock band that inspired me was Kiss. I listened to a lot of hard rock and punk until I was about sixteen years old. Later, I started listening to heavy metal. I really enjoyed the essence of heavy metal: the fast tempos, the minor scales, the melodies and the epic feel of such bands as Iron Maiden, Metallica, Megadeth and later on various death metal bands. Around the same time, I also started listening to traditional Japanese pop, world folk and classical music.
Recently, I have mainly been inspired by classical composers like Beethoven, Vivaldi and Chopin. I have even made heavy metal covers of their compositions. I tried to read the original scores and analyze the compositions. I had a really good time working on that. Also, I have been listening to a lot of enka and Eastern European folk lately. Joe Hisashi, Studio Ghibli’s composer, and Ryuichi Sakamoto are very interesting as well, because their music delivers and eastern atmosphere with western musical instruments. I have not really been influenced by much metal lately, but I like a lot of Chinese metal!

A large portion of Gyze’s discography, including the new single ‘The Rising Dragon’, can be streamed through Spotify, iTunes, Deezer, Tidal and other popular streaming platforms.

Gyze is currently on tour through Europe:

August 11th: Leyendas del Rock, Villena, Spain
August 12th: Underworld, London, England
August 13th: Colosseum, Genk, Belgium
August 14th: Backstage, Munich, Germany
August 15th: Summer Breeze, Dinkelsbühl, Germany
August 17th: Turock, Essen, Germany

The original Dutch version of this article can be read at The Sushi Times. Thanks to Mona Miluski at All Noir for setting up the interview.

Album of the Week 30-2018: Volcano – Darker Than Black


‘Darker Than Black’ is Volcano’s fourth original studio album since mid-July 2015. While that may seem a bit excessive, it is also remarkably good. Volcano was always the perfect band for anyone who could not choose between the vicious aggression of thrash metal and the melodic appeal of traditional heavy metal and ‘Darker Than Black’ is no different, though the melodic death metal influences that were prominent a few albums ago have been dialed back considerably. ‘Darker Than Black’ is one of Volcano’s more interesting albums compositionally, though it is just as capable of thrashing your face off when it needs to.

One thing that immediately stands out is that a lot of attention has been given to making the songs instantly recognizable. Every previous Volcano album has its fair share of powerful songs and catchy moments, but at times, some of the non-highlights had a tendency to sound a little too similar. However, no two songs sound alike on ‘Darker Than Black’. This is admirable, because thrash metal can be quite the limiting genre. By subtle changes in tempo, atmosphere and melodic content, the Japanese quartet managed to give each song its own face while retaining their thrashing intensity.

Speaking of atmosphere, two of the album’s most atmospheric moments have surprisingly been composed by bassist Akira. The propulsive ‘Jailbreak Vampire’ has a middle section that would not have sounded out of place on a mid-nineties Scandinavian melodeath album, while closing track ‘Guardian Deity’ immediately becomes one of the album highlights through its heroic melodicism. Guitarist She-ja wrote the rest of the material, with ‘Flight To The World’ possibly being the best opening track Volcano ever released. Classic twin guitar melodies, punishing drum work by the incredible Shun and biting thrash riffs constantly keep each other in perfect balance. And good luck getting that chorus out of your head.

Furthermore, Volcano explores the entire spectrum of heavy metal here. At the most melodic end, there are songs like the classic midtempo heavy metal of ‘Scatter Toxins’ and the relatively open ‘When You Are’, which has a gorgeous, almost bluesy guitar solo. The latter is also true for ‘Arena’, which is the perfect breather for an otherwise rather chaotic song. ‘Horror’ is a very cool riff-driven thrasher closest to the eighties Bay Area tradition, while ‘Great Crisis’ similtaneously houses some of the album’s most extreme as well as some of its most melodic sections. It should not work and yet, it does.

In fact, the entire album works. The only issue have with it is that the mastering job is a nightmare. It isn’t disruptive in every single song, but during some intense double bass sessions, the music distorts. With the songwriting generally being on par with – at times even slightly better than – the better moments of ‘Melt’, that should only be a minor complaint though. Though nothing on ‘Darker Than Black’ may be as instantly catchy as ‘Tokyo Panic’, it feels like this 53-minute collection of carefree thrashing will leave more of a lasting impact, quite likely making it the second best Volcano album after 2001’s incomparable ‘Davi’.

Recommended tracks: ‘Flight To The World’, ‘Guardian Deity’, ‘Horror’

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’

Album of the Week 28-2018: NoGoD – V


Within the visual kei realm, NoGoD is a bit of an anomaly. With a sound that is a lumpless blend of modern hard rock and heavy metal, they don’t really fit any of the trends that exist in their genre and because they are not a cast full of pretty boys – they are fronted by the clownesque Dancho – their fan base is largely male. With that different take on Japanese rock music, NoGoD is certainly a band to check out for those who are usually discouraged by the visual approach. And there hardly is any better place to start than ‘V’.

Though NoGoD is mainly known for energetic, riffy songs with rather upbeat choruses, ‘V’ is notably darker in tone than any of their other albums. It is also slightly more metallic than their other works, though the catchy bits are almost all arena-worthy in their sing-along glory. The first half ‘IV – Tasha / Philosophia’, the fourth part of a suite that stretches out over four albums, has a stomping 5/4 beat that many of their peers would not dare to attempt and the awesome ‘Sabbath’ is probably the darkest NoGoD song yet. Coincidentally, it is also one of their very best.

In more familiar territory, ‘V’ also shines just a little bit brighter than the rest of NoGoD’s discography. While earlier albums had masterpieces like ‘Kamikaze’, ‘World Ender’ and ‘Kakusei’, ‘V’ just rolls on without ever losing stuff. Sure, the more punky, upbeat songs ‘Kane wo Narase’ and ‘Pandora’ feel a little odd atmosphere wise, but that is easy to accept on an album that also has fist pumpers like the anthemic ‘Stand Up!’ and ‘Zetsubo Bye Bye’. The album is even bookended by two tracks that are surprisingly riffy; the guitar work in opener ‘Utsushiyo Horror Show’ and closer ‘Tosohonno’ is almost speed metal in nature.

Dancho’s voice is the thing that seems to spark most debate amongst people who are not sure if they like NoGoD. While that is understandable – the fact that he is almost exclusively in full-on passionate mode does not account for a lot of dynamics – Dancho is probably the factor that makes NoGoD stand out in a scene full of Kamijo and Gackt soundalikes. I like him a lot. Dynamics and subtlety are built by the tastefully layered interaction between guitarists Kyrie and Shinno. Kyrie even has one of his many acoustic solo pieces here in the shame of ‘Yume No Awa’. A perfect little break between intense songs.

Although the criticism that the visual rock scene is full of bands that blindly copy each other in terms of musical style and appearance is justified, once in a while a band pops up that can truly deliver in terms of originality and playing. While NoGoD doesn’t really do anything new, the band doesn’t really sound like any other band inside of Japan and outisde. And still, despite the fact that their recent albums lean towards modern rock a little too much. If you like great riffs, passionate vocals and a tight rhythm section with a thick bottom end, NoGoD should be right up your alley.

Reccomended tracks: ‘Sabbath’, ‘IV – Tasha / Philosophy’, ‘Stand Up!’

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