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.
Only a year had passed between the releases of Onmyo-za’s debut album ‘Kikoku Tensho’ and sophomore record ‘Hyakki-Ryoran’, but you wouldn’t be able to tell from the massive improvement the latter is over the former. Where the debut had promising, but largely underdeveloped material, ‘Hyakki-Ryoran’ features some of the best music the band has released to date. While it is significantly more polished than its predecessor, it is also one of the most traditionally metallic albums Onmyo-za put out, if the cover did not give that away already. Likely the best Onmyo-za album for conservative metalheads to start with.
Unlike the album cover, however, ‘Hyakki-Ryoran’ isn’t just hellish aggression. In true Onmyo-za fashion, it is in perfect balance with melody, atmosphere and inventive songwriting. Those who have known Onmyo-za from after they broke through with ‘Koga Ninpocho’ might be surprised how the band sounds here. It’s still obviously the same band, with their core sound of traditional heavy metal riffs, subtle Japanese folk touches and the excellent vocal duo of Kuroneko and band leader Matatabi in perfect form. The songs are just slightly longer and notably more complex, while there is somewhat more room for influences from thrash and doom metal.
‘Hyakki-Ryoran’ starts out with my favorite Onmyo-za song. ‘Shiki Wo Karumono’ is largely a fairly conventional speed metal song with incredible guitar riffs, though the ominous semi-spoken – though somehow harmonic – intro and the horror-like mood it sets grant the track a unique atmosphere. Fans of speedy, traditional-sounding heavy metal with subtle progressive touches are relatively well off with ‘Hyakki-Ryoran’ anyway, with ‘Gekai Ninpocho’ and ‘Tenkyoin Kuruito Kuruwa’ being on the album as well. ‘Teito Makaitan’ was the band’s most aggressive track up until this album, even featuring growled vocals in the verses, but also a supremely melodic and catchy chorus.
When Onmyo-za slows down on this album, however, the full extent of their class is shown. ‘Ayako’, for example, is a masterpiece. While the track is devoid of tranquil sections and even features a twisted, unsettling middle section, the elegiac melodies that dominate the songs are enough for me to qualify it as the band’s first fanastic ballad. The actual ballad ‘Yagamu Tsuki’ is no slouch either, however, and features some of Kuroneko’s most powerful, emotional vocal work to date. On the other end of the slower spectrum, there is ‘Nurikabe’, the band’s first full-blown doom metal track, which would not have sounded out of place on a Ningen Isu record, had it not been for the mildly dissonant middle section and the superior vocal work.
Since ‘Shiki Wo Karumono’ – along with ‘Nemuri’ from the ‘Mugen Hoyo’ record – was the song that made me fall in love with Onmyo-za, ‘Hyakki-Ryoran’ was sort of an introductory Onmyo-za record to me. It may very well be the best album to serve as such for metalheads who are curious about the band, but not that familiar with all the tropes of the Japanese metal scene. ‘Hyakki-Ryoran’ could not have come from another country, but has enough metallic characteristics to sound not too alien for western metalheads. It is their first amazing album, from the tightened songwriting the the unbelievable improvement Tora’s drumming went through. A must-hear for anyone.
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.
In terms of music releases, 2018 was one of the strangest years in recent history. Save for a few notable peaks – in June and September most notably – there have not really been extended periods with lots of great releases. In fact, some of the trusted names have released quite disappointing albums. Record companies seem to slowly shift their focus towards reissues and live releases, which is not necessarily a bad thing, but I would have been happy if there was some more previously unheard material that blew me away during the year.
Nevertheless, there were two amazing albums this year that make an equal claim to the number one spot, both of them Japanese. In the end, I literally flipped a coin to decide the order of the first two records. Not unlike other recent years, many of the western artists in the lists are either relatively new bands that took me by considerable surprise or long-running bands that suddenly released a career highlight. That should be enough to still remain hopeful about the future of international heavy metal.
1. Onmyo-za – Hado Myoo
Despite all of Onmyo-za’s albums being of excellent quality, nothing could have prepared me for ‘Hado Myoo’. The album was darker and heavier than anyone could have expected – especially after the relatively lightweight single ‘Oka Ninpocho’ – but it still features the trademark melodic elegance that Onmyo-za is known for. During the album’s best moments, the contrast between Matatabi’s forceful sections and Kuroneko’s melancholic introspection really brings out the best of all sides of the band. Onmyo-za is one of the very few contemporary metal bands that scores 10/10 on riffs, melodies, structure, memorability and vocals simultaneously and ‘Hado Myoo’ is one of the brightest examples of that.
Recommended tracks: ‘Shimobe’, ‘Hao’, ‘Haja No Fuin’
2. Saber Tiger – Obscure Diversity
Since around 2011, Saber Tiger has truly been on a roll. Their current line-up is probably the strongest they have ever had and their song material is nothing short of excellence, combining the powerful melodies and overall feel of eighties heavy metal with the impressive intricacy of contemporary progressive metal. With these elements, Saber Tiger has crafted a sound that is completely unique and ‘Obscure Diversity’ expands on that by being more complex and more accessible at the same time. There’s a perfect balance between aggression, musical craftsmanship and memorability on the album. While many modern metal albums sound clinical and soulless, Saber Tiger retains the passion that is so important to the genre.
Recommended tracks: ‘Distant Signals’, ‘Beat Of The War Drums’, ‘The Worst Enemy’
3. Witherfall – A Prelude To Sorrow
Despite being familiar with Jake Dreyer through Iced Earth and White Wizzard, his own band Witherfall really blew me away from out of nowhere. ‘A Prelude To Sorrow’ was the most pleasant surprise of the year. Dark, but not self-pitying. Complex, but not impenetrable. Melodic, but not powerless. Witherfall does just about everything right here. Joseph Michael’s vocal performance is the cherry on the cake. He has the subtle rasp of a young Halford, the drama of Bruce Dickinson and a higher register eerily similar to Crimson Glory’s Midnight. There’s so much to this album that I can see myself listening to it for many years to come. In a way, Witherfall fills the void left after the definitive end of Nevermore with their expertly composed, dark progressive metal.
Recommended tracks: ‘We Are Nothing’, ‘Moment Of Silence’, ‘Vintage’
4. The Magpie Salute – High Water I
Although The Black Crowes have always impressed me with their engaging combination of typically American music styles, the country influences got a little too prominent on their last few albums for my taste. Apparently guitarist and main songwriter Rich Robinson also thought so, because while the rootsy sounds are still there on ‘High Water I’, the debut studio album of his new band The Magpie Salute, the songs are mainly rooted in bluesy hardrock, while the acoustic songs are more folky in nature. Singer John Hogg is a revelation. His passionate voice is what really lifts the album above the level of its already impressive songwriting. The melodies and atmospheres are captivating. At this point, I honestly hope the rise of The Magpie Salute will not be stopped by a Crowes reunion.
Recommended tracks: ‘High Water’, ‘Open Up’, ‘For The Wind’
5. Warrel Dane – Shadow Work
Sure, Warrel Dane was in my top three favorite metal singers of all time, so it should not be too surprising that ‘Shadow Work’ is so good. But given the fact that he died during the recordings, it is remarkable how accomplished and well-arranged it sounds. It is essentially an unfinished record, but hardly does it ever sound like one. There’s a few moments where Warrel’s vocal lines are a little rough around the edges, but they give the album character rather than being distracting. The songs sound really good; they mainly display an even darker take on Nevermore’s formula. And one can hear that this has become a true labor of love for Dane’s Brazilian backing band. They play their hearts out below what is unfortunately Dane’s final farewell. It is a powerful one though!
Recommended tracks: ‘Madame Satan’, ‘Shadow Work’, ‘Mother Is The Word For God’
6. Voivod – The Wake
For years, the late Denis ‘Piggy’ D’Amour was deemed irreplacable. Martyr’s Daniel ‘Chewy’ Mongrain proved that nothing is impossible on the fantastic ‘Target Earth’ (2013) and now, ‘The Wake’ proves that was not just a fluke. The album steers slightly away from the technical thrash of ‘Killing Technology’ (1987) and more towards the futuristic, surprisingly relaxed progressive metal of ‘Nothingface’ (1989). ‘The Wake’ is an adventurous record that is likely to please any fan of mid-period Voivod, but is not simply copying the formula of those years. The songwriting on the album is simply too inventive and spontaneous for that. Many sections on the album even sound like improvised jams, which is highly unusual for a metal band. Then again, highly unusual is Voivod’s bread and butter!
While D is easily one of the better bands in the visual kei scene, I was not too sure if a solo album of their frontman Asagi was what I was waiting for. It turns out that he took the elements from what I consider D’s best songs – the ones that are more Asian folk-oriented – and turned that into the style for his full album. On a majority of the album, traditional instruments like the shamisen, the koto and several percussion instruments are enhanced by the distorted guitars rather than the overused other way around, resulting in an album that may be even better than D’s already consistently great discography. In addition, it is admirable how Asagi managed to make ‘Madara’ sound like a uniformous album despite the numerous contributions of high profile guest musicians.
Recommended tracks: ‘Hakumenkonmo Kyubi No Kitsune Hidama’, ‘Komo Sakura’, ‘Ooyama Inudake ~Tsukuyo Ni Hoeyu~’
8. Aria – Proklyatiye Morey
‘Gonka Za Slavoy’ is the single greatest song released last year. The rest of ‘Proklyatiye Morey’ is really good as well. In fact, ever since current (and best) singer Mikhail Zhitnyakov joined the band, Aria has been experiencing a bit of a rebirth. ‘Proklyatiye Morey’ is the third installment in a series of studio albums that is easily their best since their late eighties and early nineties heyday. In fact, ‘Proklyatiye Morey’ even finds the band branching out by treading their most progressive waters yet. Unlike some of the recent albums of their prime influence Iron Maiden, Aria manages to sound fresh and energetic throughout the album, however. The short, punchy songs are as good as the longer, proggy ones. If highly melodic old school heavy metal is your thing, ‘Proklyatiye Morey’ is an album you cannot afford to miss.
Recommended tracks: ‘Gonka Za Slavoy’, ‘Ot Zakata Do Rassveta’, ‘Zhivoy’, ‘Era Lucifera’
9. Angra – Ømni
Angra continues to release amazing records. And in true Angra fashion, ‘Ømni’ is different than anything they have ever done before. It is probably the album with the most pronounced Afro-Brazilian influences since their classic ‘Holy Land’ album. The best aspect about ‘Ømni’ is its versatility though. It is a progressive metal album with many different shades and faces. In fact, this is one of the few albums where I think “world metal” is a pretty good genre tag for it. Power metal is slightly less prominent than on ‘Secret Garden’ (2015), but that is hardly an issue here. Also, it is admirable how little of a difference the loss of long-time guitarist Kiko Loureiro makes. Marcelo Barbosa is an excellent replacement. I am fairly confident about Angra’s future at this point.
Recommended tracks: ‘Ømni – Silence Inside’, ‘Bottom Of My Soul’, ‘War Horns’
10. Alice In Chains – Rainier Fog
‘The Devil Put Dinosaurs Here’ (2013) made me fear that Alice In Chains had gotten too comfortable with its own sound, but fortunately, ‘Rainier Fog’ proved me wrong. Sure, the twisted anguish of ‘Dirt’ (1992) has gone, although traces of it can still be heard occasionally. Naturally, the elements that make Alice In Chains the band people know and love are featured prominently on ‘Rainier Fog’. The dual lead vocal harmonies, the crushingly heavy riffs, the haunting minor key melodies and the melancholic ballads are all there. There is just a more spontaneous “let’s throw this against the wall and see if it sticks” vibe than before. Ultimately, what makes ‘Rainier Fog’ an above average Alice In Chains album is that the album contains some of the most memorable songs the Seattleites have written in a long time.
Easily the greatest rock singer of his generation, the sound of Myles Kennedy’s solo album was surprising, to say the least. ‘Year Of The Tiger’ is an album rooted in acoustic guitars, but not in the pretentious singer-songwriter way of most rock singers. Instead, a large portion of the album has been written on resonator guitars, adding a sort of a country blues flavor to many of the songs. Of course, there is still the folky stuff such an acoustic approach tends to result in, but there is even some more powerful stuff here that would have been hardrock if the instrumentation had been different. The interaction between acoustic and electric instruments accounts for an album that is much more dynamic than one would expect. One of the surprise winners of 2018.
Recommended tracks: ‘The Great Beyond’, ‘Nothing But A Name’, ‘Blind Faith’
12. Amorphis – Queen Of Time
Without wanting to sound too petty in my clean vocal fundamentalism, ‘Queen Of Time’ may have been higher on my list if it didn’t feature so much grunting from Tomi Joutsen. Musically, ‘Queen Of Time’ is probably the most interesting, layered album Amorphis has released so far. The songs aren’t radically different from what they did before, but the songs are significantly enhanced by the use of several traditional instruments, which gives the songs a depth beyond the quality we have come to expect from the Finns. Some of the choruses just beg for Joutsen’s excellent clean vocals and get his – admittedly good – grunts instead. If that does not bother you, you could do a lot worse than the equally progressive and melodic as heavy and brutal stuff on ‘Queen Of Time’.
Recommended tracks: ‘Daughter Of Hate’, ‘Heart Of The Giant’, ‘The Golden Elk’
13. Lovebites – Clockwork Immortality
‘Awakening From Abyss’ was one of the two albums in last year’s coin toss. ‘Clockwork Immortality’ did not impress me quite as much upon first spin. After some time, the album sunk in though. I still think it lacks something the debut did have, but there are too many good songs on the album to dismiss it easily. Overall, ‘Clockwork Immortality’ is slightly more streamlined than the previous Lovebites releases, but there is still an abundance of excellent guitar work by Midori and Miyako and singer Asami is still one of the best female rock singers in Japan. After some spins, my idea is that better sequencing could have improved ‘Clockwork Immortality’, but that doesn’t take away the fact that there are some excellent power metal and hardrock songs on the record.
Recommended tracks: ‘The Final Collision’, ‘Addicted’, ‘M.D.O.’, ‘Pledge Of The Savior’
14. Navarone – Salvo
After the carefully arranged ‘Oscillation’, ‘Salvo’ finds Navarone aiming for the live energy that made them so good in the first place again. Stylistically, ‘Salvo’ combines some of the best rock music from the seventies and nineties, ending up sounding not too dissimilar to what Slash does with Myles Kennedy. Fresh, punchy songs with catchy choruses that don’t overstay their respective welcomes are all over ‘Salvo’. As always, the album proves that Navarone excels in writing smartly arranged rock songs that don’t sound like they have been labored over and the fantastic voice of Merijn van Haren ties it all together. Anyone who has once said that rock music is not what it used to be should certainly give ‘Salvo’ a spin. Unless you don’t like to be proven wrong of course.
Another one of those albums I was not expecting to like so much. To me, White Wizzard was always one of those retro bands that rightfully had to settle for opening act status. Occasionally fun, but ultimately lacking in the songwriting department. ‘Infernal Overdrive’ prove me wrong. Gone are the days of blindly aping influences – though closing track ‘The Illusion’s Tears’ has its moments – and in its place, we have a bunch of excellent contemporary heavy metal songs with some delicious guitar work. Even singer Wyatt Anderson has improved significantly. Most of the longer songs feature a ton of engaging stuff as well. I had hoped for this to be the start of a bright future, but unfortunately, White Wizzard called it quits a few months after the album’s release.
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’
Out of all Onmyo-za albums, ‘Chimimoryo’ is proabably the one with the broadest appeal. That does not mean it isn’t metal. Quite the contrary. The riff work on the album is still as rooted in traditional heavy metal as it always has been, but the polish of the production and the melodic sensibilities really open the door for J-rock fans, while the dynamic and subtly adventurous nature of the record invites progressive rockers to have a listen. No matter what side of Onmyo-za you like best, it is represented on ‘Chimimoryo’, which – as a result – is one of the band’s best.
What really makes ‘Chimimoryo’ as near perfect as it gets is the fact that it has a very pleasant flow. It would not surprise me if multiple track orders were tested before release in order to find the one that is just right. This is not the type of album where you’d get tired of too many songs of the same tempo or style after each other, neither does it boggle your mind with illogical genre-hopping. The powerful voice of bassist and band leader Matatabi and the expressive (mezzo-)soprano of Kuroneko are very much in balance here as well.
As great as ‘Chimimoryo’ is all the way through, the more epic tracks really raise the album’s status. And that already starts when you put on the album, as ‘Shutendoji’ is a monumental midtempo hardrock track of late Zeppelin proportions, only with some brilliant guitar harmonies and a metallic rhythm section more reminiscent of Iron Maiden. Later on, ‘Dojoji Kuchinawa No Goku’ takes you through multiple climaxes during its eleven and a half minutes. Huge, doomy riffs, balladesque sections and one of the more awesome speed metal riffs in the band’s discography, it’s all there and each section is even better than the last.
These songs alone don’t make a good album though. The hypermelodic single ‘Kureha’ is reminiscent of ‘Yoka Ninpocho’ in how the clean and distorted guitars interact, the strong melodic metal stomper ‘Araragi’ feels like a sequel to ‘Shutendoji’ with its powerful lead guitar themes and broad chords and if it’s fast riffs you want, ‘Hiderigami’ and ‘Oni Hitokuchi’ will serve you all the energetic speed metal you need. Kuroneko’s composition ‘Tamashizume no Uta’ is the lone ballad on the album, but her amazing voice and the rather atypical marching rhythms and percussion really turn it into something unique.
Unless you are a wool-dyed old-schooler, ‘Chimimoryo’ would be the perfect album to get acquainted with Onmyo-za’s unique sound. Matatabi’s compositions evidence that the guitars of Maneki and Karukan do not have to play power chords the whole time in order to sound metallic and the vocals prove that there are more options than the overused beauty and the beast tactic for male-female vocal duos. Onmyo-za would later top ‘Chimimoryo’ with ‘Kishibojin’, but only barely. This is one of the very few albums that is of consistently high quality from start to finish and deserves to be heard because of that.
Recommended tracks: ‘Shutendoji’, ‘Dojoji Kuchinawa No Goku’, ‘Araragi’, ‘Oni Hitokuchi’
Due to its polished, almost glossy production and the relatively mellow nature of its songs, ‘Kongo Kyubi’ initially was one of my least favorite Onmyo-za albums. After letting the album – and, presumably, myself – mature for a while, my appreciation for the album increased rapidly. It is quite unique in the Onmyo-za canon in that there is an abundance of clean and twelve string guitars, but only three of the songs qualify as a ballad. Instead, ‘Kongo Kyubi’ channels all the band’s melodic sensibilities and puts them on the crossroads of traditional heavy metal, eighties hardrock, mildly progressive rock and J-rock.
Had Onmyo-za continued down a softer road following ‘Kongo Kyubi’, it would have been seen as a transitional album, but since it was followed by one of the darkest records the band ever made, it can probably be considered a melodic experiment that works surprisingly well. That does not mean the album feels like a stylistic detour; songs like ‘Aoki Dokugan’ and ‘Sokoku’ contain everything Onmyo-za fans would want; NWOBHM inspired riffs, melodic lead guitar themes, highly memorable melodies and – always a defining feature of the band – the excellent dual lead vocals of bassist Matatabi and his wife Kuroneko.
Still, ‘Kongo Kyubi’ has a few amazing songs that would have sounded out of place on other Onmyo-za albums. ‘Banka’, for instance, is the most bluesy track the band ever released, albeit in an eighties Gary Moore blues ballad kind of way. Furthermore, ‘Baku’ sets the mood for the album very effectively. It is based on some shimmering twelve string parts courtesy of guitarist Maneki, but also has a few pulsating riffs, a notably upbeat chorus and some of Matatabi’s busiest bass work to date. ‘Izayoi No Ame’ does a brilliant job combining Onmyo-za’s trademark melodic J-metal with melodic hard rock.
That does not mean that ‘Kongo Kyubi’ is without its heavy moments. ‘Kuzaku Ninpocho’ is a masterpiece of a speed metal track, while the three-song suite ‘Kumikyoku Kyubi’ is remarkable in being the only Onmyo-za suite so far that does not contain a distinct ballad-esque track. Sure, its first part ‘Tamamo-No-Mae’ has a bouncy, almost disco-like rhythm as its foundation, but the epic Iron Maiden vibe of ‘Shomakyo’ and the riff-fest ‘Sessho-Seki’ keep it firmly within the metal realm. In addition, ‘Kuraiau’ – yes, I also first thought it was “cry out” – is the best of Onmyo-za’s upbeat closers, which often are a little lightweight. By contrast, ‘Kuraiau’ has a powerful seventies hardrock feel.
Once ‘Kongo Kyubi’ clicked with me, I learned to appreciate it for what it is: an extremely well-written, perfectly arranged and flawlessly produced album. Onmyo-za found a way to perfectly balance their sense of melodicism with some surprisingly inventive riff work which sounds standard enough, but really isn’t once you find out the chord structures. As for myself, I am glad I love this band enough to give this album a few extra chances, after which it proved that it is not a watered down version of Onmyo-za, but instead a very successful attempt at highlighting the band’s more romantic side. The latter half of the album is surprisingly metallic though.
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 