Sakuban already have two EPs Voi and Kidnie to their name but their reputation at home appears to be based largely on their live shows. Perhaps this is why the production of Pavilion has a deliberately live feel with little evidence of overdubbing or studio effects processing. Although it is the polar opposite of overproduced, the sound is clear, powerful and exhilarating; the arrangements are noticably more complex than those of their earlier material too.

It’s hard to categorise Pavilion beyond the vague genre definition of instrumental guitar rock; the band make use of not one or two but three full-time guitarists in addition to bass and drums. Unlike, say, Mono or Mogwai, who use multiple layered guitar lines to create expansive soundscapes, the aim of Pavilion appears to be the impression of chaos enclosed in a small space through shorter pieces.

The raw, gutteral distorted guitar riffs of the opener moody pavilion and the single YOUTH set the pace with frantic drumming and galloping basslines but unlike their contemporaries Sakuban use their multiple instruments to create a tense and wild stop-start structure to songs that rarely break the four minute mark. In the absence of lyrical content, dynamic changes in tempo and volume provide the hook to draw the listener in, and in this aspect at least pavilion follows the trend.

Even so, there are no epic crescendos or classical influences here: Sakuban’s roots seem to lie in punk-fuelled garage rock, married to unconventional time signatures that remind me of the math rock of Sheffield’s 65DaysOfStatic. Sakuban however rely solely on guitars, bass and drums (it wouldn’t surprise me if the drummer is jazz trained); the staccato slapback delay and hairy fuzz in レダロ for example ensure that the licks are colourful and varied with selective use of effects pedals, but the emphasis is on their own brand of melody.

The warbling lead lines in Fashion [pavilion ver.] capture that delicate balance between catchy and experimental that is often the deciding factor between a band whose music sticks in your head and a band who ‘do different’ for its own sake. pavilion definitely hits on the former for me: the mayhem is underpinned by rigidly-followed structures that are more apparent with repeated listens.

This is an album that is all about *songs* rather than over-long passages with excessive amounts of FX that seem like they’re trying to hide shortcomings in the musicianship. The members of Sakuban are still in university as far as I know but the jagged, textured riffs of IDEA would suggest otherwise: it exudes well-founded confidence and for those who are familiar with the EPs, the song structures are more focused with a firmer sense of direction.

Although the signature style of this band is distinctive the songs don’t blur into each other as much as I expected them to. 夕日の slows the pace a little with longer periods of smooth arpeggiated chords and verse breaks, which offers a slight pause for breath in time for deltal. It seems that the guitar duties are divided between the conventional concepts of lead and supporting rhythm parts, but the third sometimes steps in and out of the sonic picture to colour it with occasional shrieks, pick scrapes and quasi-random bits of noise to maintain an air of constant unpredictability.

The reason why I suspect this album is an attempt at capturing the essence of their live shows is because the likes of sarliban are so immediate – it’s a recording that succeeds in making the music feel alive and tangible. This track unusually features vocals; admittedly only background wails which give a haunting element of humanity before the coda quickly descends into a sonic riot.

夜が入ってくる is another change of pace and style, being as it is the slowest-paced track on the album and featuring its only employment of acoustic guitar. This one feels more stripped-down as a result, but is no less effective in that it provides the necessary contrast with the closing track TOWN, which ends the album on the appropriate levels of boundless energy that it showed in the opening tracks.

The problem of too many bands and artists sounding alike is the same as it always was I think, but there are always some who make the extra effort to do otherwise. mudy on the 昨晩 are a case in point: the lack of lyrical content gets around the language barrier (although physically buying the records can be tricky for overseas fans) and their striking sound is genuinely unique to my ears. I strongly recommend this record to those of us who really do appreciate fresh, original musical talent.

Track listing

1. moody pavilion
2. YOUTH
3. レダロ
4. Fashion [pavilion ver.]
5. IDEA
6. 夕日の
7. deltal
8. Sarliban
9. 夜が入ってくる
10. TOWN

The fact that so many of their tracks are tie-ins to films and TV shows does carry an associated burden if you want to appreciate them on their own: the first LP, Seventh Heaven, is and always will be the Kara no Kyoukai vocal album to me but Red Moon follows a mere year behind with more album-only numbers in comparison. While it doesn’t quite scale the heights of, say, Oblivious or Aria, it’s still Kalafina. And these three girls can still sure as hell sing.

The title track is a bold, dramatic opening statement (its title sounds like a Tsukihime remake or something…now there’s a thought! ^_^) that ably introduces the unique blend of opera, film score-sized orchestral arrangements and guitar/synth-driven pop. 光の旋律 (Hikari no Senritsu), the opening theme for Sora no Woto, taps into their more jovial and folk-influenced side; it brings the voices of the three vocalists up clearer in the mix with the electric guitars low in volume and a buoyant flute keeping the tempo brisk and bright.

テトテトメトメ (Te to Te to Me to Me) carries on the folk feel but also has a very Middle Eastern/Asian dance atmosphere with up-tempo percussion and swaying strings; the distinctive twang of a sitar is joined by a jangling guitar to give the most geographically-evocative track on the album. It’s unusual even by Kalafina’s standards and prevents the tracklisting getting stuck too deep in its (albeit elegantly beautiful) groove. Fantasia is one of their pulsating electropop tunes that uses the soaring operatic vocals to give more brooding verses in between the upbeat, dance-y refrains. The ‘gothic’ aspect of the songwriting gives a more intriguing and darker edge to what would otherwise be more conventional electronic Jpop; I find it to be a perfect accompaniment to a long nighttime drive.

Perhaps intentionally 春は黄金の夢の中 (Haru Wo Kagane no Yume no Naka) could not be more different: the instrumentation is sparse with piano and restrained background strings taking back seat to the vocals. The fan appeal is no doubt aimed at Wakana, Keiko and Hikaru and the way in which their differing ranges and timbres harmonise together: with such a slow and introspective feel this is a good example. I even get the impression that their pitch control and performance as an ensemble have improved since their last record.

Kyrie takes things back into the insistent electronica territory but despite being so familiar with how this aspect of the group sounds, it’s one of the more effective: the drum loop sets the pace and the vocal acrobatics of this one never fail to move me. Amongst the throb of synthesised percussion and squeal of guitars there’s that angelic, reverb-drenched choral sound that reaches out and winds the tension and feeling to…um, excessive critical hyperbole. It’s another good ‘un for keeping you alert on those long dark evenings.

闇の唄 (Yami no Uta) feels like the dramatic cinematic score style that brought the group into being – the orchestral instrumentation evokes images of enormous opulent ballrooms, star-crossed romance, Shakespearean tragedy…it’s truly epic and wonderfully atmospheric, which is what draws me to Kalafina: their style is both old and new, emotive yet hard to place; a heady concoction. 星の謡 (Hoshi no Uta) keeps up the continuing shift in mood between tracks: the flute and percussion is this time decidedly Oriental in nature and the pace picks up again.

Storia is one of my recent favourites of theirs, and was written for Rekishi Hiwa Historia, an NHK TV show I believe. Perhaps because I’ve never watched it I can appreciate this on its own – the vocal parts pretty much carry the whole song. intermezzo, as its name suggests, forms an intermission between this and the song that follows. I can’t say much about it because it’s a fairly short piece but I like the restful feel; it’s a lullaby with a sweet “kiss me” sung in clear English at the coda. Aww~.

Progressive was originally a stand-alone single and, after at least two of their dance-orientated tunes already on the album, its impact as an individual number is lessened. It’s not a sub-par example of Kalafina in electro mode, mind: the violin and guitar, panned across the two speakers with drum loops and the three girls’ choral chant tearing through the centre soundstage, liven it up but despite its energetic rock vibe I can’t call it the best when it’s in such fine company. They’re setting themselves high standards more than anything.

My only criticism of Seventh Heaven was “b-b-but…what about Lacrimosa?” Well, here it is: the full version of the Kuroshitsuji (Black Butler) opening theme in its full violin-tinged, operatic grandeur. I can’t remember if the choral chant just before the final chorus made it onto the TV edit (I only watched a few episodes, I’m afraid) so in case you missed out then, enjoy it here and turn it up. It’s one that begs to be played loud because the harmonising of the three vocalists is at its most powerful here.

I have a dream is I think intended for the upcoming Eve no Jikan (Time of Eve) movie but doesn’t have much in common with what I’ve come to associate with the group’s recordings so far: the guitar- and piano-driven sound is this time in a more mainstream ‘movie theme tune’ vein with only the vocals giving the game away. The flute enters partway through but beyond merely saying I like it, I’m still not yet completely won over. Perhaps it’s best enjoyed as part of the production it’s written for (complete with Manly Tears of admiration on my part as the ending credits roll, I expect) but on its own it feels like a low-key ending to the record given the gamut of emotions and moods that precede it. Seventh Heaven worked better as a ballad-style closing track, but then I would say that, wouldn’t I?

Overall my concerns over Kalafina releasing another album after only a year were allayed by the fact that Red Moon delivers both more of the same – which is no bad thing really – but offers a few refreshing departures from the usual mix of electronica, symphonic pop and the range of other disparate influences that fans have become familiar with. I have to be mindful of the fact that it hasn’t had nearly as long to grow on me as the standout moments of Seventh Heaven did, and there is of course the association with the superlative Kara no Kyoukai to take into account there too.

Kalafina are very different from any other contemporary music I’ve yet heard and both their music and their distinctive gothic lolita on-stage image set them apart. The appeal then is their ability to take the listener into a world all unto itself but this does create a sensation of over-familiarity within this discrete world of theirs; it doesn’t become samey or wearing but the very intensity of the experience means that I find myself being critical of their less-than-outstanding songs, which are of course outstanding by the standards of rival artists.

As a record then it’s eclectic, atmospheric and really quite beautiful. As a Kalafina album it’s merely more of that eclectic, atmospheric beauty and even if it doesn’t stand up to the heights of the first album it’s still worth every minute. The limited edition is selling fast – at the time of writing CDJapan are already out of stock so I’m glad I grabbed my copy when I did. That’s one for the completists but it features a photo booklet, (non-subtitled) interview and tour footage of their Boston visit and live videos of four of the tracks from the main disc to make it worth our while.

Track listing

1. red moon
2. 光の旋律 (Melody of Light)
3. テトテトメトメ (Hand in Hand and Eye to Eye)
4. fantasia
5. 春は黄金の夢の中 (Spring Is In a Golden Dream)
6. Kyrie
7. 闇の唄 (Song of Darkness)
8. 星の謡 (Chant of the Stars)
9. storia
10. intermezzo
11. progressive
12. Lacrimosa
13. I have a dream

Bonus DVD (Limited Ed. only)

1. Lacrimosa @ Shibuya O-East
2. storia @ Shibuya O-East
3. progressive @ Yokohama Blitz
4. 光の旋律 @ Yokohama Blitz
5. Kalafina Note ~5 Days in Boston~

Their latest studio effort at the time of writing, Hymn to the Immortal Wind, is my favourite so far because of its cinematic, orchestral grandeur but Gone is a neat way of experiencing a cross-section of their sound’s evolution since the tracks are set out in chronological order. Over time the arrangements have become more structured and purposeful; tunefulness is a subjective thing but alongside similar bands Mono lean towards the more sentimental as well as being one that uses the power of volume to get the listener’s attention.

Finlandia drifts in with some ambient chiming noise and a repeated riff performed on one then both guitars as the percussion and bass follow their unhurried lead; a few harmonics and Goto’s signature tremolo picking provide variations on the theme before the inevitable distorted wall of sound carries it but overall it’s the same cyclic melodic figure throughout. What amazes me about this tune is just that: it has one common thread but the use of dynamic changes prevents it feeling too repetitive when serving as an opening track. The fact that a number of bands employ the quiet-loud-quiet pattern to provide an emotional handle for the listener to hold onto is beside the point: the devil is in the details, so when it’s done as beautifully as it is here I couldn’t care less.

Rather than consciously being different from other acts or trying to stand up next to those who inspired them, Mono let their work be guided by the mood or idea at the time…the end result is a journey of sorts I guess. Black Woods is, as its title suggests, atmospheric and significantly darker with brooding arpeggios and quavering chords; the Loud Bit takes a little longer to build momentum and it doesn’t have the firm sense of direction of their later material. The extended coda – quite challenging listening by their standards – is in keeping with their early noise-rock roots though: shrieks of disorientating distortion pan from speaker to speaker, not unlike My Bloody Valentine’s notorious live renditions of You Made Me Realise actually.

Yearning makes very effective use of Goto’s and Yoda’s parallel guitar parts working together to reach a crescendo more gradually; it feels as though their formula is maturing a little because it’s taking on an extra dimension and complexity. It’s one track where Tamaki’s bass cuts through the mix quite clearly – the only criticism I have for their recordings is the way her playing often gets buried in the onslaught of guitars and drums (I suspect their live show is a different story).

Memorie Dal Futuro is a more restful and tender piece that features an aspect that has taken on greater and greater significance in their studio recordings: that of a strings section to add colour and variation to the electric guitar-driven setup. They aren’t the first to use the sweet-and-sour contrast but it’s rarely in this context: the violins, violas and cellos feel integral to the arrangement rather than an addition or alternate version.

As a B-side to the preceding track, Due Foglie, Una Candela : il Soffio Del Vento is both a companion and a contrast by being slightly darker in tone. It’s shorter too, but highlights the manner in which the guitar lines are layered in an orchestral fashion: Yoda’s clear arppeggios drift through Goto’s delay-drenched trem picking to round off that section of the album.

Since I’ve Been Waiting For You combines the guitar and cello very effectively in my opinion, to give a feeling of restfulness and contemplation. What I love about soundscape-y music such as this is the way in which it conveys emotion that is powerful yet somewhat vague; there’s a lot of strong feeling in there but it’s up to the listener to channel it in their own way and find their own meaning in it.

Gone sounds a little Italian in flavour in the intro thanks to the rapid trem picked chords (hinting at their Morricone influences perhaps?) but the background strings soon lift it up, pause for breath for a few seconds, then the wash of cymbals brings in the trademark crescendo which is uplifting yet melancholic, and somewhat overwhelming, before falling into the abyss with a whine of feedback to segue into the next track, Black Rain.

This one starts of quite peacefully but there are dark undercurrents that soon make their appearance; looking at the titles of the rest of the album, originally released as the Phoenix Tree EP, it’s clear as to where the inspiration came from (and if not, The Phoenix Tree‘s cover art certainly will be). Interestingly it has some spoken vocal samples too; in Italian and performed by Uzeda’s Giovanna Cacciola.

Rainbow is a short intermission piece performed by a string quartet; there isn’t much I can say about it apart from the fact that it’s really pretty and hardly sounds like it was written by members of a contemporary guitar band at all. Little Boy (1945 – Future) finishes the compilation in grandiose and intense style: plinking glockenspiel gives way to gentle volume swells, pounding bass, cymbal crashes and ominous feedback that feel like the calm before the storm. Sure enough, the drum beat picks up the pace and the final devastating, eardrum-shredding torrent of fuzz guitar and menacing feedback sees it home.

For what it’s worth I don’t judge music purely from a technical standpoint; that is to say, I value the emotional impact of a piece over the virtuosity involved in the performance. Being able to move your hands faster than other people doesn’t make you a better musician; it doesn’t mean much to non-musician listeners either. This is why I rate Dave Gilmour and Kevin Shields over Slash and Eddie Van Halen, and why I believe Mono’s music is so raw and pure.

Their visceral and painfully loud approach to music isn’t showing off and posturing; it’s getting back to the concepts of melody as used in orchestral/classical while ignoring the contemporary rules of verse-chorus-verse chord structures that have to finish in less than five minutes. It’s all about nailing a powerful sensation with vague sounds, and saying one hell of a lot without singing a word.

Interestingly the group members and Yuki Kajiura, the songwriter behind it all, are reluctant to categorise the material, instead describing it simply as ‘Kalafina sound’; given the range of influences in evidence I can understand their point. Choral-gothic-synth-folk is a bit of a mouthful yet still doesn’t go all the way to summing up how the musical approach of, say, Uninstall (or any of Kajiura’s similar work so far) has progressed. It’s pleasantly surprising how wonderfully this collection of songs works on its own merits outside the BGM/film theme context: you certainly shouldn’t be discouraged if you’re not familiar with the anime that inspired it.

Overture introduces the feel of a bona fide album rather than a mere collection of songs played back to back: it starts with tinklings of piano, a choral harmony and various sound effects drenched in reverb and half-heard lyrics. Oblivious kicks the main event into gear with a pulsating beat and synthesised loops but what sets this apart from dance music and pushes it into listen-at-home territory is the vocal aspect, which sounds absolutely beautiful.

Love Come Down is an even bouncier and uplifting effort with a guitar line added to the mix and a violin solo(!) to offer a contrast in tone. The choice of multiple vocalists pays off at times like these because you can really hear the difference in timbre between them: I’m not sure if these four (now three) girls are classically trained but the operatic style is a cut above the typical contemporary approach. On their own they wring out impressive levels of emotion from the lyrics and melody but the ensemble moments deliver when the dynamic changes require it too.

Natsu no Ringo is much slower and has sparser instrumentation: an acoustic guitar and percussion, with a quena to add an exotic, native-American vibe. It gives the vocals more room to breathe too, bringing the individual performances closer to the fore. Fairytale is another gentle piece driven by the lyrical content while the strings rise and fall in the background; it starts off appropriately like a lullaby but ends on a bolder note. Unusually for me I prefer the higher-pitched vocals over the one who works in the lower registers: the bassier voice doesn’t have as much control over what must be some challenging pieces to perform. Overall I’d say their performances are all technically impressive and pleasant on the ear though.

ARIA is, above all the others, the one I associate most with the KnK films but it’s a stunning and dramatic stand-alone number too. The background samples in the intro and the mournful cello in the background hint at the darker undercurrents and as the singing increases in volume the percussion and instrumentation follow accordingly; the tension and feeling build up for the main refrain which I can only describe as heartbreaking and emotionally devastating, in the best possible way. Theoretically a virtuoso guitar solo and electronic samples are an unlikely foil for tribal drumming and operatic female vocals but it somehow holds together to give one of the highlights of the entire record.

An equally dark and almost as intense effort follows with Mata Kaze ga Tsuyokunatta, which is dominated by a distorted rock guitar part and a cello filling in the verse breaks. The combination of the vocals, string section and guitar lines, swirling with flanging effects and power chords, reminds me a lot of Lacuna Coil actually: it’s stylistically very different from the rest of what’s on offer but maintains that self-styled ‘Kalafina sound’. Kizuato couldn’t be more different in terms of atmospherics however: it’s brighter with an acoustic guitar and has more of an uplifting cinematic-closure mood. I particularly like the way the turn-based lyrical delivery, piano and strings work together there.

Serenato is an album-only offering, and makes a wonderful first impression with the haunting vocal harmonies and minimalist acoustic accompaniment including what must be a sitar. If it’s a sign of Kalafina diversifying from anime soundtracks, I’d say this is a good case to welcome it: the choice of instrumentation makes it tantalisingly difficult to pin it to any time or geographic/cultural origin, despite the words being performed in Japanese. Ongaku is another breathless electronic number taking things quickly back into the present day with the guitars held tightly in place by the synthised throb and rapid-fire lyrics.

The problem, if you can call it one, of a musical style with such a strong identity is that it’s a powerful emotional experience. The music isn’t samey but is somewhat demanding so by the time the listener has reached Ashita no Keshiki the effectiveness of the soaring, almost angelic voices begins to lose their impact a little; such is the price of an outfit setting such high standards for themselves I suppose. It feels more like film music than most of the others, which isn’t such a serious misstep when they do so well in helping you forget that fact elsewhere.

Sprinter, as its name suggests, offers a welcome pickup in pace with rock-style guitar chords contributing to a power ballad feel and the acoustic strings section taking a less significant supporting role: it’s another upbeat piece that nevertheless ends gently. This suits the tender Kimi ga Hikari ni Kaete Iku, which flows slowly and effortlessly until the percussion makes its entrance; the second half once again uses that unusual yet effective blend of electric and acoustic, held together by the three vocalists as it reaches its dramatic crescendo before bowing out on a brief piano line. It’s one of those great ‘end theme’ tunes that combines a feeling of catharsis with hints of melancholy.

The title track is quite simply gorgeous; a bold statement I know, given my love for the album as a whole but the unhurried pace, buoyed up by the layers of strings and vocals, is both soothing and intense at the same time. At just over six minutes in length it makes excellent use of dynamic shifts between the quiet and restrained and the louder, more dramatic moments, keeping the listener’s interest without changing tempo or throwing off the mood. A piano break is joined by swirling sound effects, volume swells and harmonised voices to bring things to a graceful and breathtaking conclusion.

This is the most balanced mixture of old and new-sounding music I’ve heard this side of Yoko Kanno: easily the best-spent ¥3000 I’ve splurged in recent weeks. It was practically the soundtrack to my holiday but Kara no Kyoukai fanboy or no, I’ve still not tired of hearing it.

Track listing

1. Overture
2. Oblivious
3. Love Come Down
4. 夏の林檎 (Natsu no Ringo)
5. Fairytale
6. ARIA
7. また風が強くなった (Mata Kaze ga Tsuyokunatta)
8. 傷跡 (Kizuato)
9. Serenato
10. 音楽 (Ongaku)
11. 明日の景色 (Ashita no Keshiki)
12. Sprinter
13. 君が光に変えて行く (Kimi ga Hikari ni Kaete Iku)
14. seventh heaven

Unformed is a thirteen- (or fourteen-, in the case of the Limited Edition) track album comprised entirely of songs featuring the virtual idoru Hatsune Miku: needless to say the same cute girly Jpop style is present throughout the vocals in all the tracks on offer here, but I was pleasantly surprised at how easy it is to forget that her voice is a computer programme. Considering how most pop artists these days seem to fall back on pitch correctors and all manner of electro-magic in the studio to the point where even their voices are effectively digital, maybe I shouldn’t find this too surprising.

The brisk opener Rainbow Outline doesn’t actually sound too far into electronica territory at all: there are some synthesised bckground strings but the drums have a ‘live’ feel to them and there’s an acoustic/electric dueted guitar part in the background. I can make out a bit of piano following the strings too, meaning there are a fair few overdubs but not at a Billy Corgan-esque level. Yuuhi Zaka is a slower track with tinkling keyboards contributing to the tender ballad feel; I’m quite impressed with the versatility of what I expected to be a robotic vocal delivery. The pitch changes and pronunciation sound quite natural, although needless to say I’m going on the ‘feel’ of the phrasing rather than actually understanding the lyrics themselves.

Buchi Nuke! 2009! is one of those hyperactive, punky style numbers that features rapid-fire lyrics, fuzzy guitar and a drum beat that would probably work just as well in a thrash metal song, but sounds energetic without being heavy when used in this context. It’s fun in a foot-tapping kind of way, although the digital production techniques are more obvious. G-A-M-E is also a more electronic offering, but comes across as a futuristic disco number; the digital sheen to Hatsune Miku’s voice is used to its advantage – somehow I don’t think a live singer would sound quite right here. It has one of the best melodic hooks on the entire record, and would probably be something I’d be happy to hear instead of the formulaic tripe that’s often played in nightclubs these days.

Winter Alice is another ballad-style tune that is more piano-driven; it’s an enjoyable piece but serves to offer variety in tempo and vibe in the album as a whole rather than stand out on its own as a potential single. Tsuukin Kaisoku is the opposite of its laid-back and mature feel though: it’s another bouncy, hyper track that would perfectly suit one of those fast-moving retro platform games in a computer arcade. Mikkuru Sumasu (from christmas) is another one that I suspect is a novelty number: it is, as far as I can tell, the classic Jingle Bells performed in Japanese with a jaunty keyboard and cheeky guitar riff. It’s great for a laugh!

Astraea -blue mix- is another potential dance floor filler with a piano melody and an infectious beat to it; I’m not much of a dance music fan at all but the presence of vocals (even if they’re vocaloid) ensures it never gets repetitive. The stock drum rolls and other breaks between verses are predictable, which makes it sound like a tribute to clubbing as opposed to a new song of that genre but I like it all the same. Uta ni Katachi ha Nai Keredo is a great contrast in bringing the tempo right down for an effort that’s more thoughtful and emotional; the piano works well with the vocals and the background strings contribute to the dreamy sense of longing and introspection. There’s an alternate version included here but I’m still undecided which I prefer because both are delightful.

Alive is also deep into ballad territory but the brief crackle and buzz of what sounds like a guitar or microphone at the beginning has me wondering: is doriko (assuming he or she is a lone individual) a proficient multi-instrumentalist in addition to someone who can put musical arrangements together on Cubase in a competent and professional manner? Hatsune Miku’s voice and the backing harmonies are never pushed too far into the fore either; the ‘guest vocalist’ and the music are component parts of the songs, rather than the record acting as a showpiece for one or the other.

Monokuroakuto boots up with some brief samples and a fantastic duet of piano and heavy guitar; when I say heavy I mean it’s melodic but also the bass is awe-inspiring, even through headphones. The thick power chords and dramatic strings section offer a superb contrast with the piano and high-pitched, clear-as-a-bell vocal delivery. It has the guitar-y slant and tight rhythm of a rock tune but the Hatsune Miku sweetness ensures it is powerful without being overpowering. Because I’m something of a guitaku maybe I’m biased here, but it’s another one of the album’s highlights for me.

Letter Song couldn’t be more different: it’s a chance for the listener to calm down a bit as the record draws to a close with delicate piano and plaintive vocals carrying the album to its two bonus tracks. The running order is well chosen I think in that it mixes up the faster and slower numbers, ensuring the mood is constantly changing; highlighting how a vocalist who ought to be less versatile than her RL counterparts can still be used in a variety of tunes if the instrumentation and arrangements are selected with care as they are here.

The mp3s and packaging scans are available from certain generous fellow fans but I’d actually like to get hold of a CD copy of this; it seems to be a bit of an indie subculture thing rather than big business, which means the likes of Unformed are labours of love as well as being thoroughly enjoyable pieces of work in an artistic sense so deserve a bit of listener support. I never used to think of myself as a devoted electro-pop fan (I’m certainly not an expert) but I strongly urge you to give this one a chance.

Track listing

1. Rainbow Outline
2. 夕日坂 (Yuuhi Zaka)
3. ぶちぬけ！２００９！ (Buchi Nuke! 2009!)
4. G-A-M-E
5. Winter Alice
6. 通勤快速 (Tsuukin Kaisoku)
7. みっくりすます（from クリスマス） (Mikkuri Sumasu (from christmas))
8. Astraea -blue mix-
9. 歌に形はないけれど (Uta ni Katachi ha Nai Keredo)
10. Alive
11. モノクロアクト (Monokuroakuto)
12. Letter Song
13. 歌に形はないけれど (Uta ni Katachi ha Nai Keredo (Piano Re-arrange ver))
14. Limited Edition Bonus Track*

*Limited edition only. Which I’ve heard has already sold out at time of writing

The band’s sound is in the vein of Mogwai or God is an Astronaut in that the songs are almost all instrumentals with keyboards and occasional samples woven in between layered guitar lines. Although there are several bands, including the two mentioned above, who fall into the category of atmospheric post-rock or shoegaze this is one of the finest examples I’ve had the pleasure to hear so far: a tender yet emotionally-charged gem of an album that balances experimental guitar noise with staggering orchestral beauty. If it isn’t the best thing we’ll hear in the next twelve months I’ll enjoy being proved wrong.

The relatively short track listing should indicate that this is not a collection of three minute radio-friendly numbers: the promotional info on the official site claims that it was performed “…with a romantic, hopeful narrative in mind,” a sentiment I can easily empathise with. The band have what I understand to be a long-standing relationship with Steve Albini as studio recording engineer, whose approach means that the arrangements maintain a ‘live’ feel which in this case compliments the use of a twenty-eight piece orchestra as backing for the band’s guitar-driven compositions.

Ashes in the Snow opens the record with dueted guitar riffs that are joined by a rising wash of cymbals before the full strings section joins in; in typical post-rock style there’s excellent use of dynamic changes between grandiose walls of distortion and more restrained moments with the end result of feeling as though the nearly-twelve minute(!) piece is telling a story, or charting a journey, with music. While the use of high volume and distortion or a relentless tremolo picking technique might otherwise be challenging or even atonal listening, the blend of electric and acoustic ensures that every minute has a sense of subtlety and harmony.

Burial at Sea also starts with a quiet, clean guitar line and takes things into less dramatic but, as the title suggests, somewhat darker territory. The orchestral aspect works wonderfully here to colour the plaintive guitars and booming drums, picking up in tempo during its second half with a crescendo that exploits the sonic characteristics of both to the full. Things take a more gentle and restful turn with Silent Flight, Sleeping Dawn in which piano, flutes and harpsichord carry the track through most of its six minute duration.

I love the way that in Pure as Snow (Trails of the Winter Storm) the two sparkling, melancholic guitar parts create a sensation of instrospection, followed by a gradual build-up into something more powerful and epic, as if it’s the soundtrack to a film that doesn’t yet exist; the plaintive shrieks of distortion and feedback keep a low yet still noticable profile to give a feeling of intensity tempered with sweetness and order in chaos. Needless to say the choices of song titles are evocative but also very descriptive!

At less than four minutes in duration Follow the Map is the shortest on offer here but it’s one of the highlights of the album for me. The piano is accompanied by a reverb-drenched guitar reminiscent of Dave Gilmour, the strings echoing the piano to paint a soundscape of heartfelt emotion: hope, longing, loneliness and reunion. Incidentally the abstract promotional video to accompany the song reflects its intentions.

The Battle to Heaven is closer to what I recognise as Mono’s signature sound; the orchestra sitting a little lower in the mix and the fuzz-laden guitar chords featuring more prominently. The great thing is, even when the music itself – as opposed to lyrical content – is relied upon to maintain the listener’s interest, it never once feels boring or repetitive. I’ve actually had this album playing at least once on my hi-fi for a week and it still hasn’t got even close to wearing on me. Gone required several listens to warm to it but Hymn to the Immortal Wind sounded fantastic from the get-go and still does, however often I play it.

The very title of Everlasting Light gives an impression of hope and optimism, as hinted at by the bittersweet tinkling piano that makes up the introduction; the atmosphere is buoyed up by the trem-picked guitars and a faint presence of strings in the background. The band and orchestra join together in a joyous, eardrum-shredding yet somehow heart-wrenching crescendo to give one of the most uplifting but simultaneously tear-jerking finales to any recorded musical performance I’ve ever heard; the guitars offer a contemporary edginess while the orchestra’s contrasting association with classical gives an end result that sounds new, yet is somehow timeless.

Are the titles, and the feelings they evoke, part of an overall concept or idea? I’m honestly not sure. I do have a fascination with the inlay booklet of every album I buy though, which means I pay a lot of attention to the artwork and content of the sleevenotes. In the case of Hymn to the Immortal Wind each track has a fascinating short story or a few paragraphs of descriptive text, courtesy of a Heeya So, whoever she may be. The content fits the sentiment of the music itself, should you take the time to read it (I recommend you do).

On reflection, and repeated listens, I still feel the need to say that this is indeed the best new album you are likely to hear this year: it makes me feel as though I’ve had my heart broken and mended again. Superlative stuff.

Track listing

1. Ashes in the Snow
2. Burial at Sea
3. Silent Flight, Sleeping Dawn
4. Pure as Snow (Trails of the Winter Storm)
5. Follow the Map
6. The Battle to Heaven
7. Everlasting Light

After working back from Withering to Death and their Western breakthrough LP Vulgar I was mildly disappointed with The Marrow of a Bone. It was abrasive, powerful and carried a brutal sincerity that begged to be taken seriously (I have a real problem these days with taking heavy metal seriously…put it down to old age or something) but it felt like they had gone too far in their embracing of their European and Stateside peers. I respect their drive to evolve but it didn’t exploit the full range of their musicianship and influences; 2008′s Uroboros, which takes its name from a mythical concept of re-creation and unity, remedies this by drawing from their past works while creating something new and really quite exciting.

Introducing the album with an atmospheric instrumental track, followed by a long (nine and a half minutes!) vocal number indicates that this is a record that requires patience and an open mind: while there are singles that fit the self-contained format this is something that is intended to be appreciated as a complete whole, on its own terms. Sa Bir is hard to pin down; like the dance-inspired GDS that introduces their live shows it’s a bit of a non-sequitur but so is Vinushka: an intimidating, sprawling, epic of a tune that repeatedly takes the listener through gloomy atmospherics, all-out angst and back again.

The mind-boggling range of Kyo’s voice never ceases to amaze me: on this record however there’s more than the inhuman screaming and bellowing that made Marrow… and Withering… so striking. If anyone thought of his contributions as a gimmick Uroboros demonstrates how he has one hell of a dynamic range. There’s plenty of throaty microphone-shredding growling and yelping but there’s also some very melodic vocal acrobatics that leads me to conclude that Kyo is one of the most versatile and expressive frontmen in the industry today. Toguro and Red Soil remind me a bit of Gackt and the late-and-great X Japan in delivering a rich, occasionally 80s-inspired croon that delivers the emotion while sounding mature and tuneful.

This variety extends to the solid bass of Toshiya, the percussion of Shinya and the double headed beast of the guitar section made up of Kaoru and Die: the arrangements in this album come across as more intricate and more layered, which makes it quite a grower in that it stands up well to repeated listening. While their two previous records were nu-metallish sledgehammers Urorobos is more subtle, more brooding; it doesn’t so much as assault the senses as creep under your skin and take root. Glass Skin is one of their softest songs in recent years but still carries a great amount of feeling; they now seem to have the confidence to show restraint and choose when to unleash the full force of their fury.

Stuck Man demonstrates the musical ability that is often overlooked in the frantic beats, distorted chords and desperate screaming: it has some moments of bluesy, almost funky, breaks in between the episodes of metallic mayhem. I have to frequently remind myself that all of this stuff is performed by the same group of five people because I feel they want to simultaneously lull me to sleep, quietly creep me out and scare the crap out of me! This unlikely blend of styles and influences is aided by a more varied range of instrumentation: pianos, mandolins and even an electric sitar make occasional appearances to give an album of tender ballads like Ware Yame Tote… alongside the likes of the fast-paced Bugaboo.

If you’re a listener who is averse to the heavier and more angst-ridden end of the rock spectrum this is most definitely not for you. As a fan of heavy rock and metal from the oldies like Black Sabbath and Deep Purple to the latest Metallica (which, by the way, is excellent because it harks back to their Cliff Burton-era glory days), I can appreciate the tunefulness amongst the chugging power chords and frenzied percussion pummelling but I don’t see it getting much mainstream chart attention.

One of my favourite tracks is the single Dozing Green, presented as Glass Skin is on the European edition with Japanese and English vocals. Personally I prefer bands to perform their songs in their native language because the lyrics flow better (regardless of whether I understand their meaning) but it’s one of their all-time best. Quavering arpeggiated chords and whispered vocals leap into soulful rock ballad territory and after a short breakdown Kyo gives a falsetto scream and anguished squeal backed by a full-on guitar, bass and drum assault with some choir boy operatics to round it off.

The running order proper is concluded by the stunning Inconvenient Ideal, another track that exhibits the surprising restraint and enviable musical ability shown by the whole band at this point in their career. It carries the same feeling and passion of the rest of the album but with a more self-assured grasp of how to create an immersive soundscape; while their electrifying live presence and frenetic lurching between disparate styles on record are earning them a well-deserved international cult following, this album is the most effective demonstration yet that this remarkable band have once again achieved the most important thing: Diru sound like Diru, and no one else.

In summary

If there’s one thing you have to give Dir en Grey credit for, its the fact that no two of their records sound the same. Uroboros builds on the hard-edged recent material while acknowledging the eclectic nature of their back catalogue, bringing things in a full circle as its title suggests. Even so, it still feels as though they are still exploring new territory rather than recycling old ideas; most importantly the risks they have taken in writing and recording have paid off to give a challenging yet rewarding piece of work.

Track listing (European release)

1. Sa Bir
2. Vinushka
3. Red Soil
4. 慟哭と去りぬ (Doukokou to Sarinu)
5. 蜷局 (Toguro)
6. Glass Skin
7. Stuck Man
8. 冷血なりせば (Reiketsu Nariseba)
9. 我、闇とて･･･ (Ware, Yami, Tote…)
10. Bugaboo
11. 凱歌、沈黙が眠る頃 (Gaika, Chinmoku ga Nemuru Koro)
12. Dozing Green
13. Inconvenient Ideal
14. Glass Skin (Japanese vers.)*
15. Dozing Green (Japanese vers.)*
16. Agitated Screams of Maggots (acoustic)*

*bonus tracks