Driven by Sonic Obsession

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.

22. Kumikyoku “Kishibojin” ~ Michi (Kishibojin, 2011)

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.

14. Kumikyoku “Kishibojin” ~ Ubugi (Kishibojin, 2011)

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.

11. Kumikyoku “Kishibojin” ~ Samayoi (Kishibojin, 2011)

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.

9. Kumikyoku “Kishibojin” ~ Kikoku (Kishibojin, 2011)

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.

6. Kumikyoku “Kishibojin” ~ Kishibojin (Kishibojin, 2011)

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.