Onmyo-za usually releases a new album every year or so. ‘Ryūō Dōji’ is their first album in nearly five years, presumably largely due to health issues that affected the hearing and vocal cords of singer Kuroneko. Fortunately, she sounds incredible here, though that could also be the result of ‘Ryūō Dōji’ not being anwhere near as heavy as its direct predecessor ‘Hadō Myōō’. This is definitely the most traditional-sounding Onmyo-za album released in quite a while. But at the same time, it does not really sound like anything the band has released so far. It does, however, sound really good.
While all the melodies are instantly recognizable as ones that singer, bassist and band leader Matatabi would write for Onmyo-za, the experimentation on ‘Ryūō Dōji’ is in the song structures and the way the melodies are constructed. Melodies tend to stop earlier than one would expect based on the band’s output and not every part of the songs is in the place similar parts usually are. For instance, Matatabi has a tendency to open the first proper song with a catchy uptempo hardrock riff, but ‘Ryuso’ kicks off with Kuroneko singing a melancholic melody with minimal accompaniment. The expected riff does follow later, but these slight changes keep things fresh without alienating listeners.
‘Ibaragi Dōji’ was released as a single last month and in a way, the song is a tad misleading. It suggests a similarly heavy approach as the previous album, but despite a fair share of crushing riffs, ‘Ryūō Dōji’ is far more dynamic. The album focuses on Onmyo-za’s trademark approach of fairly traditional hardrock and heavy metal riffs with melancholic, yet strangely uplifting melodies carried beautifully by Kuroneko and Matatabi. The latter seems to take a backseat to his wife’s incredible performance a bit more than on ‘Hadō Myōō’ this time around, but the vocal interaction that makes Onmyo-za such a special band in the first place is still there.
My favorite moment on ‘Ryūō Dōji’ is when Makoto Dobashi’s drums underneath the fantastic main riff of ‘Gekka Ninpōchō’ speed up their time feel to create a new climax with the same melodic information. But there is much more to enjoy on ‘Ryūō Dōji’ or even that song alone. Time will have to tell whether or not the 11-plus minute ‘Shiramine’ will pass ‘Dōjōji Kuchinawa no Goku’ as my favorite long Onmyo-za song, but it is a song in which a lot happens and the ballad section of the song is hauntingly beautiful. ‘Ryōmen-Sukuna’ is another highly dynamic mini-epic, while ‘Karura’ brings back the lighter, airy rock sound as heard on the heavily underrated ‘Fūjin Kaikō’ album.
When the songs stick closer to the tried and true Onmyo-za formula, the results are just as impressive though. ‘Hōō no Hitsugi’ is an excellent Iron Maiden-inspired hardrocker with a great chorus which, alongside the relatively upbeat ‘Ōinaru Kappo’, just as easily could have fit on the likes of ‘Raijin Sōsei’ or ‘Karyō-Binga’. ‘Shizukokoronaku Hana no Chiruran’ takes the Onmyo-za style in a slightly more dramatic direction than usual, while the relatively dark and heavy ‘Nurarihyon’ is one of my personal highlights of the album. Especially the blink and you miss it chorus with its stinging, yet surprisingly haunting vocal harmony is pure art.
A minor issue on ‘Ryūō Dōji’ is its length. At 71 and a half minutes, it is an extremely long album. On the other hand, there is not a single song that I think deserves to be left off the album. During its first minute or so, I thought ‘Kakugo’ might be the filler track due to how long it builds on its beefy mid-tempo hardrock groove, but the excellent vocal interplay in the chorus and the fantastic call and response guitar outro definitely make it transcend the filler status I initially thought it would have. Even ‘Shinki’, the more lightweight, upbeat rocker that traditionally closes an Onmyo-za album, is actually quite strong.
Not unlike ‘Chimimōryō’ about fifteen years ago, ‘Ryūō Dōji’ is an album with a broad appeal. Multiple sides of the band have been highlighted, which means there is a little something for everyone. For many bands, that would mean their album is at risk of being too little of what fans want to hear to please anyone, but Onmyo-za’s trademark sound is so specific that ‘Ryūō Dōji’ is unlikely to disappoint anyone already into their music. Since I am a massive fan of what Onmyo-za does and nobody quite does anything similar, the sheer idea of a new album for the first time in nearly five years is already reason enough to be excited. But the fact that it is one of the better latter-day Onmyo-za albums is a fantastic bonus.
Before I get to the band that I’d like to present to you today, I would like to talk about the importance of labelling bands correctly. As a journalist, I understand the convenience of having a simple descriptive tag to pique the interest of potential listeners. However, tagging bands wrongly can needlessly alienate an audience that might just enjoy the music. This is exactly what happened to me with Onmyo-za.
Onmyo-za has been consistently mislabelled by many media outlets. Among the most common unjustified genre tags the Osaka-based band has had thrust upon them are J-rock (they are much too metal for that), folk metal (a few traditional East Asian folk touches here and there does not make a band folk metal) and visual kei (not a musical genre and hardly fitting). Maybe the best way to describe the sound of the self-proclaimed “yokai heavy metal band” is to just let the music speak for itself.
So if any of you is curious about the band based on things that I or other people have written, but are intimidated by the 100% Japanese titles in their discography, please let me provide some guidance in the form of my twenty-five favorite Onmyo-za songs.
25. Omae No Hitomi Ni Hajirai No Suna (Karyo-Binga, 2016)
While I am mildly critical of the upbeat rockers that close many Onmyo-za albums, the band is capable of making excellent rock tracks when they put their minds to it. ‘Omae No Hitomi Ni Hajirai No Suna’ does not close ‘Karyo-Binga’ – it’s actually somewhere in the middle – but it was one of the songs that immediately stood out to me when I first listened to the album. The subtle Hammond organ, which is easier to spot on the studio version than on this live recording, steers your mind towards Deep Purple and once that has happened, the main riff doesn’t sound too dissimilar from something Ritchie Blackmore would play around the ‘Perfect Strangers’ era. Just tuned a little lower. Onmyo-za’s melodic approach is wildly different from Deep Purple’s, however, which is largely why ‘Omae No Hitomi Ni Hajirai No Suna’ develops its own identity. The great chorus is surprisingly light on vocal notes, but that is hardly a problem. Quite a few nice harmonies in both the vocal and the guitar department as well here, which is always worthy of a recommendation for me.
24. Ryu No Kumo O Eru Gotoshi (Garyo-Tensei, 2005)
While ‘Garyo-Tensei’ was sort of Onmyo-za’s breakthrough album simply because it contains ‘Koga Ninpocho’, I was a bit disappointed when I first heard it. The dry production doesn’t do the songs any favor, and save for three, the songs that were not on the ‘Inyo-Shugyoku’ compilation I already owned were not as good as I hoped. One of those three is second track ‘Ryo No Kumo O Eru Gotoshi’, a highly melodic track with Kuroneko and Matatabi bringing out the best in each other vocally. Every section of the song has a very distinct atmosphere and while Onmyo-za would further explore the possibilities of start-stop riffing with vocals on top (see the next two entries), this is the first time they did it that powerfully. From a songwriters’ perspective, I find it quite interesting that the song doesn’t have an outspoken chorus. I guess the part Kuroneko sings on her own qualifies as such, but the fact that it doesn’t stand out says more about the quality of each of the parts than that it diminishes the obvious quality of that part.
23. Konpeki No Sojin (Ryuo Shugyoku, 2013)
The second part in what I have dubbed “the blue trilogy” to make my life easier – after ‘Aoki Dokugan’ from ‘Kongo Kyubi’ (2009) and before ‘Seiten No Mikazuki’ from ‘Raijn Sosei’ (2014) – is the best of the three. While none of these songs recycle any riffs or themes, they do share a bit of a stylistic approach, with all of them using fairly traditional heavy metal riffs and almost dreamy melodic characteristics that would more commonly be seen in a more laidback rock context. What makes the general dreaminess of ‘Konpeki No Sojin’ stand out, however, is the fact that it is the only song out of the three that is carried vocally by Kuroneko. Her voice, along with the subtle keyboard flourishes in the treble spectrum, give the vocal sections a somewhat otherworldly quality. This is further enhanced by the heavily contrasting short sections that Matatabi sings on, which feature what are quite possibly his most aggressive vocal lines to date.
Before I move on, let me warn you that about half of Onmyo-za’s 2011 masterpiece ‘Kishibojin’ will be in this list. ‘Michi’ already kind of sums up what I like so much about the album. Yes, it is certainly darker than most of the songs Onmyo-za is known for, but that is a strength rather than a turn-off. ‘Michi’ is one of the darker-sounding metal tracks on the album, but it doesn’t get all ham-fisted and obvious about it, despite being slow enough to be considered doom metal without demanding too much of a stretch of the imagination. The album also contains what I consider to be Matatabi’s best vocal work to date and ‘Michi’ puts his great – and sadly underrated – voice front and center. The start-stop riff in the chorus helps it stand out, but he basically employs his full range here. The little raw accents are excellent and when his wife Kuroneko does join in, the harmonies are impeccable. Meanwhile, the guitar riffs may appear simple and serviceable, but they only enhance the atmosphere so well because they are full of subtly dissonant chords. Lessons in musical subtlety are rarely this heavy.
21. Izayoi No Ame (Kongo Kyubi, 2009)
When I was collecting Onmyo-za’s discography little by little, I held off on buying ‘Kongo Kyubi’ for the longest time. The album is notably mellower than most of the band’s repertoire and the production is polished to the point of being glossy and because of that, I thought it could not be good enough. I was wrong. ‘Izayoi No Ame’ single-handedly proves how well the bright, clean production works with the songs written for ‘Kongo Kyubi’. Like basically any other Onmyo-za track, the song is full of fantastic melodies and it has a great chorus, but there are some productional touches that could only be on this album. The subtle clean guitars in the fantastic intro, for instance. Or the way the mind-blowingly brilliant bridge to the chorus is set up to maximize the impact of the chorus. Just listen to it: the riff has more notes than the start of the chorus, but the drum part makes it sound much less claustrophobic than how most European power metal bands would handle such a part. The productional approach definitely enhances ‘Izayoi No Ame’, but it could not have worked this well if Matatabi had not written and arranged such incredible parts for it.
20. Kirameki (Kojin Rasetsu, 2002)
In a way, ‘Kirameki’ sums up the formula of Onmyo-za’s third album ‘Kojin Rasetsu’ quite well. The fast, almost thrashy opening riff – bonus for the brief guitar harmony in it – seems to suggest a further exploration of the speed metal-isms that were relatively prominent on previous album ‘Hyakki-Ryoran’, but there is far too much melodic refinement in the track to see it as nothing more than raw speed metal. The vocal harmony in the chorus is particularly melodic, further emphasizing how well Kuroneko and Matatabi work together as singers. All available vocals come together in what seems to be a moment of complete abandon during the end of the second verse, but all of this is quickly drawn back into control once the chorus returns again. Right before the quiet part near the end, Karukan plays one of my favorite solos he has ever recorded. It is quite restrained by his standards, but it just fits perfectly.
19. Mizuchi No Miko (Garyo-Tensei, 2005)
Kuroneko compositions are usually ballads with a distinct East-Asian folk touch. ‘Muzuchi No Miko’ is a notable exception. A powerful metal track full of dramatic melodies and excellent three-part vocal harmonies, it is one of the highlights that lifts the surprisingly hit and miss ‘Garyo-Tensei’ to a higher level. Karukan’s two-hand tapping runs in the intro are hard to pull off as rhythmically and melodically consistent as he does it here and again, heightened interest is guaranteed by the solo section, which is constructed just a little differently than in most heavy metal songs. It is remarkable how guitar-oriented the composition is for something that’s been written by a singer who doesn’t play any instruments in the band. Of course Kuroneko gets her chance to shine, but it’s mainly through the interesting and unpredictable vocal melodies she has written. That extended powerful note that ends the chorus is her voice at its best, however.
18. Kumikyoku “Kishibojin” ~ Oni Kosae No Uta (Kishibojin, 2011)
‘Kishibojin’ lacks the lighter, upbeat rock song that most Onmyo-za albums have – I have to resist the urge to type “fortunately” here. There is one track that is somewhat different in tone than the melancholic nature of that record though and that is the almost cheeky-sounding ‘Oni Kosae No Uta’. It is quite heavy, but the teasing melodies and the remarkable vocal interaction – Kuroneko is haunting, Matatabi and Maneki are raw and mischievous – make it stand out in terms of atmosphere. Later live versions of the song proved that these elements are exactly what makes the track such an infectious one in the live environment. Audiences seem intent on participation in this particular track for sure. Another notable thing is how bluesy and wah-drenched Maneki’s guitar solo is, which is quite a rare feat in Onmyo-za’s discography. There isn’t any other song quite like ‘Oni Kosae No Uta’ in their repertoire and that is exactly what makes it such a pleasant surprise.
17. Ayako (Hyakki-Ryoran, 2000)
On their sophomore album ‘Hyakki-Ryoran’, Onmyo-za released what I consider to be their first top-tier ballad. It is hardly a typical ballad, however. Not by Onmyo-za standards and certainly not by hardrock and metal standards. In fact, the only aspect of ‘Ayako’ that could be considered traditionally balladesque is Kuroneko’s generally soft and elegiac lead vocals, though the opening riff is certainly the type of riff that a power ballad from a metal band would culminate into. About five minutes in, a completely new section enters. By playing around with the time feel in a way that makes it seem like there are lots of shifts in tempo and dynamics, as well as Kuroneko sounding like an actress reciting the lines of a particular tense scene, there is a brief moment of absolute madness. The band would revisit this type of songwriting in the middle section of the title track of ‘Kishibojin’ over a decade later, but ‘Ayako’ is an already surprisingly well-developed example from their earliest days. The fragile, resigned sadness of the rest of the song is a work of great serviceable restraint by each of the band’s members.
16. Kuraiau (Kongo Kyubi, 2009)
Almost all Onmyo-za albums finish on a somewhat lighter note with a more upbeat rock track. These usually are not my favorite songs, but every once in a while, one pops up with an interesting vibe. ‘Ikiru Koto To Mitsuketari’ had its hopeful sound, but ‘Kuraiau’ is just a really powerful rock song. The main riff has strong seventies hardrock leanings, the solo is one of the bluesiest things they ever put out and the chorus – which doesn’t say “cry out”, as I first thought – invites to sing along even if you don’t speak the language. In fact, its crowd interaction possibilities are probably the reason why the song can consistently be found near the end of the band’s set lists. Unlike some of the other album closers the band has made, however, ‘Kuraiau’ still has a propulsive, driving rhythm. It even stands as one of the harder rocking songs on the relatively light and polished ‘Kongo Kyubi’. Since contrast is a big thing in the concept of the band – their band name refers to the gathering of yin and yang – that does make a lot of sense.
15. Mao (Mao-Taiten, 2007)
‘Mao-Taiten’ is often labelled as one of Onmyo-za’s most straightforward metallic albums and while there is some truth to that statement, it is also far more melodic than the musical picture such a description would bring to mind. The intro is Matatabi’s Iron Maiden worship in all of its harmonic guitar glory – note how he adds a lower octave for a fuller sound though – and none of the riffs is less than metal, with a part of the middle section even being borderline thrash with a very brief grunted section. The track also features some of Tora’s most prolonged uptempo double bass drumming to date, including all the recordings he has done since leaving Onmyo-za in 2009. Kuroneko’s vocals, on the other hand, are some of the most melodic and “airy”-sounding she has ever done on a non-ballad. Also, the production sounds a great deal more polished than one might expect from one of the band’s more metallic records. Perhaps surprisingly, these different properties only enhance what is one of Onmyo-za’s best opening tracks. Impressive enough when you realize how many good ones they have done.
Ask people to name an example of the darker nature of ‘Kishibojin’ and chances are pretty big they will mention ‘Ubugi’. The downtuned, stomping riffs could have pointed the band into a more modern metal direction, but since the band chose to include only Kuroneko’s vocals on the track, the overall atmosphere is immediately pushed into more melancholic, introspective territory. I also love how understated the chorus of ‘Ubugi’ is. The song really opens up in that part of the song, with everyone leaving room for everyone else to excel, but everyone flat-out refuses to cram the section full of their own notes. This philosophy continues in Maneki’s short, surprisingly modest guitar solo. There are not that many notes, but every one of them counts. Also, his picking style and the subtle wah make it feel like a part of the composition rather than a moment to show off. After the still somewhat hopeful ‘Samayoi’ (still to follow), ‘Ubugi’ effectively sets the atmosphere for ‘Kishibojin’, but unlike many mood-setters on concept albums, it also sounds fantastic on its own.
13. Teito Makaitan (Hyakki Ryoran, 2000)
One of the most interesting things about Onmyo-za’s vocal duo is that it steers clear of the overused “beauty and the beast” trope. Both Kuroneko and Matatabi can truly hold their own with clean vocals. Having said that, grunts and screams do pop up every once in a while. The songs in which they are featured prominently I often consider inferior to the more melodic work, with one notable exception: ‘Teito Makaitan’. The gruff vocals in the verses give off an aura of madness, especially due to how they are offset against Kuroneko’s subtle siren song in the background. Highlighting the song, however, is its downright incredible chorus: a chilling climax of which the amazing melody contrasts with the rest of the song. Maneki’s guitar solo near the end is the perfect extension of this melody. It’s not just the juxtaposition of heavy and melodic though. The verses and the chorus are much more open than the uncharacteristically dense, but intense riffing heard throughout the rest of the song. Admittedly, ‘Teito Makaitan’ was a bit of a slow burner for me, but it did eventually end up being one of my favorite Onmyo-za songs.
12. Hao (Hado Myoo, 2018)
How do you establish an album that is heavier and overall darker than your average input? By opening it with a track that is just that, of course! ‘Hao’ effectively sets the mood for the yokai-infested underworld that is ‘Hado Myoo’. But it is more than just a heavy track kicking off a heavy album. There are very few songs that show the contrasts Onmyo-za somehow always manages to combine in a listenable way as well as ‘Hao’. The Matatabi-sung sections are heavy, with propulsively pounding drums courtesy of Makoto Dobashi, while the palm-muted chords of Maneki and Karukan push the listeners’ ear drums hard. Then there is the chorus. The chords get longer and wider, while Kuroneko’s angelic voice adds a layer of melancholic introspection. In the middle section, the couple alternates, effectively blending the two extremes. This effect is further emphasized by Kuroneko singing the last verse over the riff that first backed Matatabi. See? A mixed vocal duo does not have to be grunts and operatic vocals to get the most out of the dynamic opportunities on offer.
Much of Onmyo-za’s magnum opus ‘Kishibojin’ is characterized by an undercurent of dark melancholy. While opening track ‘Samayoi’ is not without its fair share of melancholy, it also has a hopeful quality. As a rule, I am very fond of this combination of atmospheres, but it is very difficult to pull off. If your name is not Matatabi, that is. This composition, while not too complicated, has a couple of nifty tricks that strongly enhance its impact. Most notably, the way the chorus opens up by using a raised key to suggest a more positive vibe is brilliant. A perfect contrast to the more subdued, tentative verses. In addition, this song is the ultimate piece of evidence to how underrated Matatabi is as a singer. Kuroneko is often name-checked as one of Japan’s best singers – and rightfully so – but while how she harmonizes with Matatabi here is a work of sheer beauty, it is without a doubt the band leader’s song vocally. His dynamic range really gets to shine here and the melodies are simply gorgeous.
10. Dojoji Kuchinawa No Goku (Chimimoryo, 2008)
Despite the epic nature of Onmyo-za’s music and lyrical subject matter, the band does not have a lot of songs that are actually of epic length. Out of the ones that are, ‘Dojoji Kuchinawa No Goku’ is my favorite because of its supreme build-up and the quality of its monumental riffs. The riffs in ‘Dojoji Kuchinawa No Goku’ are based around broad chords and eerie guitar harmonies, which envelop the listener not unlike the temple bell does to the priest Anchin in the Noh play the lyrics are based on. These huge riffs have a truly dramatic feel to them, which really does wonders for the atmosphere of the song. Most of the tempo changes are rather subtle and drive the story forward without any abrupt developments, with one notable exception. The moment the fast riff sets in during the middle section of the song is one of my favorite moments in Onmyo-za’s discography. Sure, the riff itself is nothing too complicated, but it’s awesome and it certainly manages to prolong the listener’s attention, which is not irrelevant in an eleven plus minute song.
An engaging concept album demands an engaging closing track. And in that regard, ‘Kishibojin’ does not disappoint. The song starts out by reintroducing the album intro ‘Shushu’ and evolves into what is easily one of the most traditionally metallic tracks on the record. That is not a complaint, however, as it is exactly the perfect way to round off ‘Kishibojin’. Of course, this song is traditionally metallic by Onmyo-za standards. Kuroneko is far from a typical metal singer, even if you take all the different popular vocal approaches for female singers into account, and the chords used in the riffs are not just standard power chords. During the solo section, Karukan proves that it’s perfectly possible to play fast runs without sacrificing any of the emotion a guitar solo should have. Furthermore the section involves into what has become one of the most successful formulas for Onmyo-za twin solos: Maneki and Karukan playing in harmony, then trying different parts, only to come back together for a gorgeous harmony again.
8. Shutendoji (Chimimoryo, 2008)
‘Chimimoryo’ is probably Onmyo-za’s most varied album in terms of style and therefore potentially appeals to the broadest audience. Opening track ‘Shutendoji’ is rather atypical in the sense that it neither eases the listener into the record nor does it burst out of the gate. Its massive, almost mythical sonic approach brings to mind latter day Led Zeppelin, or at least to my mind, and immediately transports the listener to another world. The big reverberating chords, the slow gallop of the verses and the repeating twin guitar pattern are more traditional heavy metal elements, but while the song sounds slightly more metallic during its second half, it never turns into a full-on heavy metal track. In fact, the powerful lead guitar part right after the second chorus is more reminiscent of a soundtrack to some sort of climactic scene, while the arrangement of different guitar parts stacked on top of each other underneath it is a masterclass in both composition and arrangement. Also, this doesn’t technically concern this particular song, but I love the way ‘Shutendoji’ transitions into the following ‘Araragi’.
7. Shimobe (Hado Myoo, 2018)
Now this one took me completely by surprise when ‘Hado Myoo’ was released. This is arguably the heaviest track Onmyo-za ever released, with its main riffs having quite a bit in common with the contemporary wave of Scandinavian melodeath bands. Onmyo-za being what they are, however, refuse to adhere to the formula of the style. Matatbi limits his grunts to a few accents, mainly opting for his powerful clean voice instead. The added piano also is far from a staple of the genre. In addition, it is simply mind-blowing how many new elements are introduced to the song in its second half, with a surprising degree of melancholic beauty in the vocal parts. But if the song has to be summed up in one section, it has to be the 7/8 opening riff that might not even sound all that alien to unsuspecting listeners. It’s vicious, it’s explosive, it refuses not to be headbanged along to… Exactly like ‘Shimobe’ as a whole sets out to be.
Onmyo-za’s first and so far only concept album ‘Kishibojin’ is without a doubt my favorite Japanese album ever and one of my all-time favorites altogether. But since I tend to listen to it in its entirity, I hardly name separate songs as my favorites. That is strange, because there are several tracks on the album that are true gems on their own, the title track probably being the best of them. It is one of the darkest tracks on the record, which is probably Onmyo-za’s darkest and most melancholic already. All of the riffs in the song are absolutely stellar and I love how dynamic the rhythmic changes in the song are. The middle section of the song is truly a class of its own. Due to the constantly changing time feel in the rhythms and the riffs, a descent into madness is brilliantly illustrated in the music. The tempo remaining stable and constant, however, is what keeps the section from collapsing under its own weight. Splendidly done and a testament to Matatabi’s brilliance as a songwriter. And I cannot stress this enough: ‘Kishibojin’ is one of those albums that should be listened to start to finish.
5. Yue Ni Sono Toki Koto Kaze No Gotoku (Fujin Kaiko, 2014)
Let’s be honest: can anything still ruin this song by the time that gorgeous slab of power metal kicks in after the piano intro? ‘Yue Ni Sono Toki Koto Kaze No Gotoku’ is not one of Onmyo-za’s most popular tracks, but it should be. My guess is that ‘Fujin Kaiko’ is often dismissed as the less metallic counterpart to the simultaneously released ‘Raijin Sosei’, which I think it is superior to. There is little argument that ‘Yue Ni Sono Toki Koto Kaze No Gotoku’ is an absolutely stellar metal track, however. It contains what are likely the greatest vocal melodies that both Kuroneko and Matatabi have ever recorded, while the entire song has a very moving, immersive atmosphere that would not sound out of place under a final battle scene in either a movie or a video game. In addition, I absolutely love how Karukan’s solo intensifies as it goes along until Maneki takes over in an absolutely stunning emotional climax. Without a doubt one of the most criminally underrated Onmyo-za songs to date.
4. Kumo Wa Ryu Ni Mai, Kaze Wa Tori Ni Utau (Fujin Kaiko, 2014)
If there is one thing that Onmyo-za got considerably better at through the years, it would be ballads. None of their early ballads is outright bad, but some of them have a tendency to drag a little. ‘Kumo Wa Ryu Ni Mai, Kaze Wa Tori Ni Utau’, however, is a pure work of art. This Kuroneko composition certainly isn’t your standard rock ballad. The orchestral arrangement has a cinematic quality and, more importantly, a dreamy, almost otherworldy atmosphere. While the arrangement is grand in scale, it is actually quite subtly and cleverly produced. It would have been too obvious to have the guitars and rhythms enter in a bombastic fashion during the chorus. Instead, they are softly mixed into the track in a way that enhances the bottom end of the spectrum. The heartfelt guitar solos of Maneki (the first) and Karukan (the one at the end) are absolutely stunning as well. At the risk of sounding pathetic: the song moved me to tears the first time I heard it. In fact, the rather unconventional chord progression still manages to send chills down my spine.
3. Hado Ninpocho (Mao Taiten, 2007)
While the artwork and the guitar-heavy production of 2007’s ‘Mao Taiten’ album give the impression that it is the band’s most metallic work to date, some of the album’s greatest moments are characterized by melodic refinement. Case in point: ‘Hado Ninpocho’. When I was singing along the incredible chorus harmony of Matatabi and Maneki after hearing it only once, it was evident that there was something special going on here. It still baffles me that such a simple song has so much going for it. Then again, the depth of this song does not come from complexity, but from extremely effective use of what is essentially a limited number of chords. Even that recurring dual guitar harmony does not contain a lot of notes, but because of the way it interacts with the chords underneath it make it sound like much more than the sum of its parts. The chords in the verses make clever use of subtle dissonance to build up a considerable amount of tension, afer which the melancholic, downright spine-chilling chorus is the perfect release.
2. Nemuri (Mugen Hoyo, 2004)
After hearing a few scattered tracks, ‘Nemuri’ was my proper introduction to Onmyo-za and it is not difficult to hear why this song in particular encouraged me to delve deeper into the band’s discography. Naturally, the strong Iron Maiden vibe of the main riff contributed to this, but it would be an insult to the compositional genius of the track to cite that influence as the only reason. The driving, uptempo, but not too fast rhythm and the dramatic D minor key of the song help to give it a desperate, yet defiant atmosphere. The timing in the section before the solo section is quite clever, leaving out one quarter note every second measure without the whole thing sounding too proggy or contrived. Speaking of the solo section, it is quite cleverly built up, with both the solos and the accompanying parts gradually increasing intensity in a surprisingly little amount of time. And then there is that chorus… I realize this is not the first time in this text I am talking about choruses – nor, spoiler alert, will it be the last – but there is something beautifully haunting about the vocal melody and the perfect harmonization between Kuroneko and Matatabi. ‘Nemuri’ is likely the first song I would suggest newcomers to check out, as it sums up the essence of the band in only five minutes.
1. Shiki Wo Karumono (Hyakki Ryoran, 2000)
Probably the song that made me realize this band is really something special. Save for the ominous harmonies of Matabi and Maneki in the intro, the band technically stays within pretty conventional speed metal boundaries for most of ‘Shiki Wo Karumono’, but there is quite a unique atmosphere to it. Sure, the voice of Kuroneko is quite different from what you’d hear on the average eighties metal record, but there is something rather unusual to the songwriting as well. It would be too easy to attribute this to their Japanese roots. Matatabi obviously set out to create an unsettling atmosphere that turned out to go well with the many monstrous yokai on the album cover of ‘Hyakki Ryoran’. The track contains some of the greatest Onmyo-za riffs to date, though there are other nifty bits of compositional genius to be heard as well. The subtle harmonies in the chorus, for instance, and the way the riffing always takes a slightly different twist than you might be expecting. After all, what’s creepier than never knowing what to expect? ‘Shiki Wo Karumono’ is a work of pure genius.
Solo projects are an odd phenomenon. Technically, they could highlight a vision someone is not allowed to display in their main band, but they are often a disjointed mess. Acid Black Cherry’s debut album ‘Black List’ has all the symptoms of the latter – a rotating cast of musicians, a wide range of styles – but ends up being much closer to the former. The strict direction of main man and sole songwriter yasu keeps the whole thing from spiraling out of control. Realizing the importance of the first strike, ‘Black List’ is a minor J-rock classic and likely yasu’s best work yet.
In essence, the music on ‘Black List’ is not as far removed from yasu’s former band Janne Da Arc as one might expect. The differences are almost cosmetic rather than fundamental. On ‘Black List’, Acid Black Cherry is somewhat heavier and considerably more theatrical than Janne was, but the focus is still mainly on highly melodic rock songs with instantly hummable choruses, energetic but not too complicated riff work and a strategic use of light-and-shade workings. The approach is not too dissimilar to what Gackt has been doing for the last decade, but notably less predictable and therefore better.
While it would be easy to blame the immense artistic value of ‘Black List’ on the contributions of big names in J-rock – including Luna Sea’s Sugizo, La’cryma Christi’s Shuse and Siam Shade’s Daita and Jun-ji – the truth is that yasu’s songwriting and arrangements are simply really good. Arrangements are worth mentioning, because it’s exactly the fantastic use of keyboards and strings that adds some class to the surprisingly dark, menacing nature of the fanatastic opener ‘Sins’ and the bass and horn arrangements that lend an authentic jazzy edge to the manic ‘Black Cherry’, as wildly as it rocks most of the time.
On ‘Black List’, the genre-hopping is its forte rather than its flaw. The dark, dangerous vibe that made me love ‘Sins’ so much is revived on ‘Murder License’, while ‘Bit Stupid’ is an infectious, breezy and funky pop rocker. ‘Fuyu No Maboroshi’ is a particularly theatrical ballad, while ‘Shojo No Inori’ is a fun melodic hardrocker that would not have sounded out of place on one of Janne Da Arc’s later albums. Occasionally yasu’s particularly light and thin voice is a little grating, but overall, it’s remarkable how well it works on the harder rocking tracks on ‘Black List’.
Despite releasing more quality material throughout the years, Acid Black Cherry would never again release an album as good as ‘Black List’. Some serious overproduction drags most of their albums down, though none of the original albums is less than enjoyable. Though a lot of effort has gone into the production and arrangements of ‘Black List’, this album truly is enhanced by the effort. There is a bit of a risk that western rock fans might find yasu’s voice a little off-putting, but the fact remains that ‘Black List’ is a fantastic album. It even sounds like one rather than a loose collection of songs. That alone is already rather impressive within the J-rock realm.
Recommended tracks: ‘Sins’, ‘Shojo No Inori’, ‘Murder License’
Heavy, dark, but without forsaking their trademark streamlined melodicism. How they do it is a mystery to me, but Onmyo-za manages to upgrade the formula of their already impressive latter day sound on ‘Hado Myoo’ without the help of a potentially alienating stylistic shift. Despite its fairly heavy use of seven string guitars, its predecessor ‘Karyo-Binga’ had its lighter moments. ‘Hado Myoo’ has not, except for maybe the relatively accessible first single ‘Oka Ninpocho’. And that is a great thing, as this powerful, relatively riff-driven monster of an album truly confirms Onmyo-za’s relevance in the year before its twentieth anniversary.
Being quite a short album by Onmyo-za standards, ‘Hado Myoo’ wastes no time setting the scene and drags the listener into an unsettling, yokai-infested underworld by means of its massive opening track ‘Hao’. The song truly plays to all of the band’s strengths, with especially the contrast between the crushing sections sung by bassist and bandleader Matatabi and the more melancholic introspection of the parts lead by his wife Kuroneko being nothing short of genius. ‘Hao’ is more than a mind-blowing opener though. It is a warning that ‘Hado Myoo’ is not going to be for the faint of heart and it delivers on that promise.
‘Shimobe’ follows a similar structure, albeit on a higher tempo, with its fierce riffing unveiling a distinct melodic death metal influence. The 7/8 intro is vicious and it is quite remarkable how many new things happen in the latter three minutes of the song. Easily the heaviest Onmyo-za song in quite some time. But while the aforementioned songs are peaks in intensity, ‘Hado Myoo’ does not let go until it is over. The songs vary in heaviness – ‘Haja no Fuin’ brings some of that delicious NWOBHM-inspired twin riffing to the fore, while ‘Ippondara’ is a grinding midtempo stomper with a cool bass solo – but none of them will be relegated to background music. Fortunately.
Elsewhere, ‘Tesso No Aza’ teaches many European and American bands a lesson or two on how to do epic heavy metal and ‘Oka Ninpocho’ and ‘Fushoko No O’ feature some tasteful Japanese folk elements as part of their arrangements. ‘Izuna Otoshi’ and ‘Itsumade’ are the typical melodic heavy metal we have come to expect from Onmyo-za, though the latter does feature some borderline thrash riffs. Even the closing track is very powerful. Onmyo-za usually reserves that spot for lighter, upbeat rock tracks, but while ‘Bureiko’ does have a more “rocky” feel than the rest of the album, it is still very much rooted in pounding riff work.
As far as my expectations for ‘Hado Myoo’ went, this was not what I was expecting. Not many metal bands can say that their fourteenth album is one of their heaviest thus far, but Onmyo-za can proudly declare that. It never sounds forced, however. ‘Hado Myoo’ is clearly the work of a band doing something they feel comfortable doing. It is a sonic triumph as well, with the guitars of Maneki and Karukan having the perfect amount of grit and Matatabi’s bass rumbling underneath slightly more prominently than usual. Yours truly for one was stunned and unless you listen to Onmyo-za for their ballads – there aren’t any – most of their fans will too.
Recommended tracks: ‘Shimobe’, ‘Hao’, ‘Haja No Fuin’, ‘Tesso No Aza’
Released hot on the heels of the impressive diptych of ‘Fuujin Kaikou’ and ‘Raijin Sousei’, it is something of a miracle that Onmyo-za still had enough inspiration left to write another excellent album. In fact, it is even better than the latter. ‘Karyo-Binga’ sounds manages to sound familiar and fresh at the same time, as its combination of traditional heavy metal and hard rock riffs, J-rock melodicism, prog rock adventurism and subtle hints of Japanese folk is exactly what we have come to expect from Onmyo-za, whilst simultaneously updating the band’s sound, resulting in one of their best albums yet.
Of course, the update is minimal, as the sound of Onmyo-za is still strongly centered around the equally melodic voices of Kuroneko and band leader Matatabi, as well as the strong, but never busy riff work and passionate leads of Maneki and Karukan. However, it is quite obvious that the band was hungry to try out new things this time around, most notably downtuned guitars and a bigger emphasis on keyboards. That does not mean that we are dealing with a watered-down, pseudo-heavy version of Onmyo-za here though. Neither dominate the record and therefore, ‘Karyo-Binga’ feels like nothing more or less than a contemporary Onmyo-za record.
Like the other highlights in Onmyo-za’s discography, ‘Karyo-Binga’ has a very pleasant flow. This flow is somewhat reminiscent of its two predecessors, because ‘Karyo-Binga’ also starts with a relatively calm track which – despite its six minutes of length and song-oriented structure – feels like an overture (the title track) before moving into a powerful, but not too propulsive melodic heavy metal track (‘Ran’). The band is clever enough to keep itself from falling victim to an auto-pilot formula though, so among moments of familiarity, the band has strategically placed a few slightly surprising track to keep you attentive.
The relatively light, yet still powerfully rocking ‘Omae No Hitomi Ni Hajirai No Suna’ is one of them. Due to the subtle Hammond organ, the song has a bit of a seventies rock vibe, but Kuroneko – who, again, outdoes herself here – keeps it firmly within the Japanese rock realm. ‘Ningyo No Ori’ starts out sounding like it could be the big sweeping ballad of the album – which in fact ‘Jorougumo’ come closest to – before developing into a relatively concise epic with a dark, heavy middle section. ‘Susanoo’ and ‘Nijuunihikime Wa Dokuhami’ are the clearest examples of downtuned riffing without forsaking the melody and ‘Hyouga Ninpouchou’ is a passionate heavy metal track with amazing lead guitar work reminiscent of ‘Yue Ni Sono Toki Koto Kaze No Gotoku’ from ‘Fuujin Kaikou’.
Onmyo-za’s music is a melting pot of many different influences, as is the case with a large number of Japanese rock and metal bands. But where many Japanese bands end up sounding busy and at times disjointed, Onmyo-za found a way of combining all these influences into an irresistible, powerful sound that is remarkably pleasant to listen to. ‘Karyo-Binga’ is the latest and most contemporary sounding installment, but the consistency of the band’s discography is truly amazing. The record is well worth listening to if you are interested in any of the genres represented in the band’s sound.
Recommended tracks: ‘Hyouga Ninpouchou’, ‘Omae No Hitomi Ni Hajirai No Suna’, ‘Ran’, ‘Ningyo No Ori’
Concept albums can be a tricky affair, but when done right, their atmosphere and continuity lifts everything about the albums in question to a higher level. Take Onmyo-za’s ‘Kishibojin’. It’s one of those albums that leaves very little to be desired and therefore is almost impossible to turn off before it’s over. The band supersizes its unique combination of fairly traditional heavy metal riffs, an atmosphere inspired by Japanese myths and legends, an approach to songwriting that ignores genre boundaries and a duo of (almost) equally amazing singers, resulting in one of the best albums I have ever heard.
On the surface, all the songs having “Kumikyoku ‘Kishibojin'” in their titles – which I will omit from the separate songs for brevity reasons – already betrays that we’re dealing with a concept album, but there’s more subtle hints as well, such as songs transitioning into each other and recurring themes. All songs are great stand-alone tracks too, however. And there’s a consistency, both in terms of style and quality, that surpasses even the rest of Onmyo-za’s strong discography. That also means there’s no upbeat J-Rock songs here – though the aggressively playful ‘Oni Kosae No Uta’ is borderline – but I consider that a plus.
‘Kishibojin’ is a darker affair than the average Onmyo-za record, though songs like ‘Urami No Hate’ and the powerful opener ‘Samayoi’ have a hopeful undertone to them. You don’t have to understand Japanese – I don’t, for instance – to get carried away by the atmosphere. For instance, the middle section of the amazing ‘Kishibojin’ seems to portray insanity – highlighted by subtly shifting rhythms and lead guitar feel – and the ballads ‘Korui’ and ‘Gekko’ suggest a feeling of solitude. The slower, brooding tunes ‘Ubugi’ and ‘Michi’ are masterclasses in building atmosphere, while the brilliant closing track ‘Kikoku’ ties the whole thing together musically and mood-wise.
As far as performances go, ‘Kishibojin’ is as close to perfection as it gets without having its life sucked out. Bassist and band leader Matatabi and his wife Kuroneko are both great singers. The former delivers his best performance thus far on this record, while the latter is – as always – incredible. The guitar duo has perfectly complementary lead guitar syles, with Maneki having a more thematic approach and Karukan being responsible for the faster runs. ‘Kishibojin’ is session drummer Makoto Dobashi’s recording debut with Onmyo-za and his powerful, but not overly aggressive playing proves to be a perfect fit for the band.
While Onmyo-za has yet to release an album that is less than good, every good band has a release where they truly outdo themselves. ‘Kishibojin’ is that release for Onmyo-za. The generally melancholic atmosphere on the record may not be for everyone, but it’s also a very important part of what makes the album such an immersive listening experience. I would like to be critical and point out small mistakes, but the truth is that they are nowhere to be found. This is a near-perfect record, right down to the subtle, but indispensible keyboard flourishes. Go check it out, if you haven’t yet, and don’t blame me for your Onmyo-za addiction.
With the genre nearing five decades of existence, finding unique sounding metal is becoming increasingly difficult. Onmyo-za somehow succeeds at doing so without attempting anything too far-fetched. Their riffs and twin melodies are generally from the traditional heavy metal and hard rock mold, but their open-minded approach to songwriting allows for a spontaneous sound that contains elements of J-rock, progrock and hints of Japanese folk. Also, singing couple Kuroneko and bass playing band leader Matatabi forsakes the “Beauty and the Beast” approach of most metallic male-female singing duos in favor of something more melodic, further emphasizing their highly original nature.
‘Fuujin Kaikou’ is the wind-themed half of a diptych with the simultaneously released – and thunder-themed – ‘Raijin Sousei’. That doesn’t mean it’s all soft and subdued though; in fact, there are plenty of riff-driven metal anthems like ‘Ichimokuren’, ‘Tsumujikaze’ and the excellent opener ‘Kamikaze’ present. However, it is the more melodic and better – by a hair – of the two. This approach leaves all the room Kuroneko needs to deliver her best vocal performance to date and often lays the guitars of Maneki and Kurakan on an atmospheric, but never overpowering symphonic bed. And even the ballads – there’s quite a few of them – are remarkably powerful.
To start with the latter category: Kuroneko’s composition ‘Kumo Wa Ryuu Ni Mai, Kaze Wa Tori Ni Utau’ is the most beautiful, goosebumps-inducing ballad the band has ever released. It’s the only song on the record where the orchestral tracks take over the guitars, but it fits the beautiful, cinematic atmosphere of the song perfectly. Both guitar solos are simply breathtaking as well. This does not disqualify the other calmer songs though; ‘Manazashi’ and ‘Hebimiko’ are somewhat more traditional, but excellent ballads and ‘Yaobikuni’ brings to mind Dio’s lighter sounding singles from the late eighties.
On the – slightly – heavier side of things, ‘Yue Ni Sono Toki Koto Kaze No Gotoku’ is a true highlight. With a great build-up, highly climactic lead guitar themes and a downright spectacular chorus that has Matatabi and Kuroneko duetting beautifully, the song is simply a lesson in how to write a mindblowing melodic metal song. ‘Saredo Itsuwari No Okuribi’ is somewhat more subdued, but still a great metal song with irresistible melodies. ‘Muufuu Ninpocho’ features a godly bass sound courtesy of Matatabi and is a bit more rocky, as is the – almost traditionally – upbeat closing track ‘Haru Ranman Ni Shiki No Mau Nari’. Both of those are songs that could sound horribly out of place on a metal record, but the general atmosphere makes them work here.
Exploring Onmyo-za’s discography can be a bit intimidating for a westerner, due to the fact that every song and album title is in Japanese, but ultimately, it will be a rewarding experience. Their unique sound somehow feels familiar and highly original at the same time, which was exactly what yours truly was looking for at the time he discovered them. Their status as one of the more popular Japanese metal bands is absolutely justified and listening to ‘Fuujin Kaikou’ – or really almost any of their albums – is highly recommended.
Recommended tracks: ‘Yue Ni Sono Toki Koto Kaze No Gotoku’, ‘Kumo Wa Ryuu Ni Mai, Kaze Wa Tori Ni Utau’, ‘Kamikaze’
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Kevy Metal 