Artist: 陰陽座
Album: 風神界逅 (Fuujin-Kaikou) and 雷神創世(Raijin-Sousei)
Score:
I need new pants.
What band could possibly release a double concept album that eclipses their magnum opus? This band.
It may have taken them three years, but 風神界逅(fuujinkaikou) and 雷神創世(raijinsousei) are a monolithic compendium of Onmyouza's self branded youkai heavy metal. Translating to "Fuujin Against the Realms" and "Genesis of Raijin", respectively, these two albums together weave a saga about a war between the gods of wind and lightning. 風神界逅 is the more accessible of the two despite a bit of atmospheric self-indulgence, and is where the concept starts proper. Opener 風神(fuujin) sets a light, brisk pace with wood instruments which builds up into a small orchestra over two and a half minutes. A low rumble resembling thunder from the drummer tops everything off, lending a complexity unexpected of an instrumental introduction, and paves the way for the next few tracks.
Saying that 風神界逅 dominates from this point on is an understatement. Temper your expectations for aggressive metal and in turn be rewarded with the most creative rock music this band has ever written. Every single song is amazing. Tracks that kick serious ass are littered throughout 風神界逅, starting with 神風(kamikaze). A by-the-book melodic heavy metal number that cements the tone for the first half of the album, what it lacks in wow factor it makes up for in consistency. For the uninitiated, this is the first introduction to the sonic angel Kuroneko, the operatic, emotive front woman who nails every note from beginning to end. Her expressive vocals take center stage on every song she's in across both albums and shares singing duties with bassist Matatabi more than ever.
故に其の疾きこと風の如く(yue ni sono toki koto kaze no gotoku), 然れど偽りの送り火(saredo itsuwari no okuribi), and 飆(tsumujikaze) are just as aggressive as 神風 with impressive solos that push the album forward and maintain momentum. 一目連(ichimokuren) is notable for Kuroneko's enka performance, which adds a nice traditional touch and is a treat to hear her use. 無風忍法帖(mufuu ninpouchou) differentiates itself as the purest example of Onmyo's rock and roll spirit. The result of a band comfortable enough with themselves to experiment and have fun, it grooves hard despite breaking immersion. However, the album doesn't solidify it's position as one of the top releases of the year until it hits its climax at 八百比丘尼(yaobikuni). An eight minute progressive behemoth, few words exist to describe how beautiful this track is. A masterpiece that obliterates everything that comes before and after it, 八百比丘尼 starts with a tone suggestive enough to summon spirits and a distorted, hypnotic electric guitar which provides the barest of main melodies. Slow, deliberate buildup comprises the first three minutes, with elements weaving in and out repeated and rephrased as Kuroneko grips your attention for the entire song. Starting strong and improving as the song goes along, it picks up pace with the solo three minutes in. From there, the song starts taking shape, culminating in a second, more technical solo and an explosion of piano, violin, and multiple guitars at the apex. The song comes down from it's climax the same way it started, with the immediacy of the first few minutes replaced by confident resolution. If you listen to nothing else from this album, listen to this.
There is no lack of slower, more introspective moments on the album either. Ballad 雲は龍に舞い、風は鳳に歌う(kumo wa ryuu ni mai kaze wa tori ni utau) soars into the stratosphere while Kuroneko puts her opera training to good use. As far as the slower tracks go, this is at the top. Likewise, mid-tempo number 蛇蠱(hebimiko) follows 一目連 with pulsating bass, generous accompaniment, and a mesmerizing chorus that sounds like it came from a spell-book. Very reminiscent of 金剛九尾 era tracks, it surpasses them because it doesn't meander in it's own atmosphere. The album ends on an upbeat pop note with 春爛漫に式の舞う也(haruranman ni shiki no mau nari). It's almost become a tradition to end albums with the most accessible track of them all. If the depth, complexity, or traditional Japanese influence of earlier tracks weren't to your tastes, give this song a spin. It's at odds with everything else on the album, but fits in nonetheless.
If my glowing impressions of 風神界逅 were enough to get you curious, then it's time to blow your mind. 雷神創世 is the better album out of the two. It will go over much better with those desiring a more metal-oriented sound. Consistency is this album's strongest point. Every song uses the same batch of ideas, but Onmyouza synthesizes them in such a way such that they all are distinct and complement each other nicely. Contrast the ominous, brooding opener 雷神(raijin) with rocker 而して動くこと雷霆の如し(shikoushite ugoku koto raitei no gotoshi). The former ensnares the listener with weaving a thick Asian melody backed by hollow drums to produce an atmosphere that demands your attention. The latter has a guitar driven melody with a piano introduction and a notable guitar solo. Both songs feel like they're cut from the same cloth, yet they're on opposite ends of the album. This speaks to the amazing execution of the concept behind this album.
There isn't a moment on 雷神創世 where the music isn't charging ahead at full speed. Songs may feature the occasional slow melody break, but every song is as metal as this band gets. The party starts with the second track 天獄の厳霊(tengoku no ikaduchi), and from there it only gets better! The only snag is 人首丸(hitokabemaru). It's the first time Matatabi has done an entire song with only harsh vocals and no assistance of Kuroneko. He alone cannot capture the dynamic vocal range I've come to expect from Kuroneko, and some dimensionality in the music is missing. Not that 人首丸 is a bad track - it's just that every other track is better.
雷神創世 is the spiritual successor to 魔王戴天(Maoutaiten), and an alternative take on the sound scape explored by 2011's 鬼子母神(Kishibojin). Even the thirteen minute epic 累(kasane) - while not as impressive as 八百比丘尼 - weaves a tale so epic you can feel the emotion without needing to understand the lyrics. Kuroneko's trademark sinister laughter makes an appearance too! Standout tracks of 雷神創世 include 夜歩き骨牡丹(yoaruki kawarabotan), which sounds like a new take on an early Onmyouza sound, previously released single 青天の三日月(seiten no mikaduki), and ending track 雷舞(raibu). 雷舞 is the most straightforward, rock-and-roll album finisher from Onmyouza ever. Both Matatabi and Kuroneko duet the entire time with with an amazing amount of energy, and do a great job of engaging the listener right up to the very end. This is impressive when the album borders on two hours of content.
雷神創世 may be a notch above 風神界逅, but both take the spot as Onmyouza's best albums to date and get better with every listen. I have no idea what direction they will go after this and I have no idea how long it will take them to get there, but I'm ready anticipating something big. Onmyouza have made it clear that they are not done yet. Successfully pulling off a double concept album with only one song that was less than amazing, this is something every lover of metal, rock, operatic female vocals, or Japanese culture and music should listen to. In a year full of amazing music, these two albums sit at the top.
| How does a band that delivers the same music for over 15 years defy expectations?
Like DEATHGAZE and lynch., 陰陽座 (Onmyouza) is that type of band that sticks to their guns and delivers the same style of music with each release. Also like DEATHGAZE and lynch., 陰陽座 (Onmyouza) is the kind of the band that won't do much to change your mind, no matter how many times they come knocking at your door with a new sales pitch. When I was a J-music novice, I thought being one-dimensional was a bad thing because I rated diversity much more highly than I probably should have, mostly due to the way many visual kei bands use diversity as a musical condiment. What is more important to me now is that a band delivers every time they announce a new song or album. While the two visual kei bands I mentioned earlier haven't been the paragons of consistency, 陰陽座 definitely is. There's not an album in their catalog that I would consider sub par - this is impressive with a career spanning almost twenty years and fifteen albums - and their newest album, 覇道明王, continues that trend.
I'll take the time now and say that if what you've heard in the past has done nothing for you, just listen to the first track "覇王". If that does nothing for you, you are free to go. I have nothing to say that will change your mind. If, however, you have never heard of this band before or "覇王" actually caught your interest, then welcome to what is perhaps the most metal album ever. This feels like, but also far outstrips, 2007's 魔王戴天 (Maoutaiten). 覇道明王 has zero chill, and from the opening piano chords of "覇王" to the fading guitar of "無礼講", 覇道明王 has the potential to keep you hooked without wanting a pause. Unlike past albums, there's no token seven minute ballad to bore you to sleep, or attempts at infusing disparate genres like pop punk and classic rock into their distinct brand of heavy metal. It's straightforward, punishing, rewarding, and everything I never knew I really wanted from this band.
Whenever I finish the intoxicating experience of listening to a new 陰陽座 album for the first time, I always wonder how the next one will surpass this one. They don't always manage to raise the bar, but they never completely shit the bed either. The last four albums in a row have consistently impressed me, but I don't think there's an album of theirs that's clicked as quickly as this one. Unfortunately, I cannot give it a perfect score because I believe it's a tad overwhelming for an initiate to sit through without wanting a breather. However, I'm confident in recommending this album to anyone that likes metal with subtle Japanese flair, dual female and male vocals, or just wants something new to listen to. This is as good of a place as any to jump in if you are unfamiliar with this band.
| Another solid effort but it doesn't stand out as much as it could.
With the head of a human, a bird's torso, a long, flowing tail, and a voice said to surpass all the gods and angels in Nirvana, the fantastical creature known as the Kalavinka is the inspiration behind 陰陽座's fourteenth album, 迦陵頻伽 (Karyobinga). 陰陽座's known for taking heavy amounts of inspiration from Japanese folklore and incorporating it into their music - even though they sound more like Iron Maiden than anything else - so this is a positively peculiar route to follow after their recent focus on Japanese deities and folklore. The Japanese interpretation of the Kalavinka is portrayed faithfully on the album cover; vocalist Kuroneko's upper torso is dressed as a winged Bodhisattva and her lower half is birdlike. It's both a gorgeous sight and a lofty proposition.
I'm torn on 迦陵頻伽. On one hand, the feel and flow of the album are all too familiar. I peg it as some hybrid of 金剛九尾 (Kongokyuubi) and snippets of their last two albums because of the pacing and atmosphere. 金剛九尾 ranks among my least favorite of their albums, but to its credit, 迦陵頻伽 is much more polished and straightforward, as if MATATABI had a destination in mind when composing. On the other hand, there is lots of carry over from 風神界逅 (Fuujinkaikou) and 雷神創世 (Raijinsousei), which I regard as near perfect. It's not as ambitious as their last effort, and at times it feels like they're marking boxes off a checklist, but this consistency is why they've never released a bad album. An opportunity to incorporate some Indian and East Asian influences into more songs was missed and would have greatly opened up their sound, but I can look past that. If it didn't appeal to you before, this will not change your mind.
Where this album impresses me is how the mystic, haunting atmosphere of their earlier eras returns. It's no longer as dark or ominous, but still present and mysterious. Opener "迦陵頻伽" really catches what I'm trying to describe here, and it's got one of the catchiest choruses in their repertoire. Centerpiece "人魚の檻" is a masterful emotional manipulator that's hogged my repeat button for the last few weeks. Those in need of a fix of heavy metal should check out "廿弐匹目は毒蝮" or lead single "愛する者よ、死に候え", and "轆轤首" is the token track where they buck all expectations and try something new. It's tone reminds me of "無風忍法帖" and it's one of my favorites of the album. The canned strings of "轆轤首" were a curious choice, and "御前の瞳に羞いの砂" sounds suspiciously familiar, but I'll admit these are minor quibbles.
陰陽座 is in the midst of a second renaissance after the release of 2012's 鬼子母神 (Kishibojin), breaking a streak of tepid albums with a concept so beautifully realized that it still sounds fresh today. 迦陵頻伽 stabilizes this upward trend, and while it's not the best thing ever it's pretty good.
Moon got a reaction from Zeus in #112: 覇道明王by 陰陽座
Moon got a reaction from reminiscing2004 in #93: 迦陵頻伽 by 陰陽座