Staff Writer
I’d wager that most with any familiarity with Japan’s modern music industry are only aware of its contributions to pop and frankly, my understanding of it does not extend much further. However, I can say with a level of certainty that Japan houses a thriving, if somewhat understated, metal scene. I can say with even more confidence that the Land of the Rising Sun produces a cornucopia of power metal, almost to the point of oversaturation. Consequently, it can prove difficult to find the truly exceptional. Within that horde of the mundane, however, Galneryus stands tall.
Formed in 2001, Galneryus infused their brand of power metal with elements of neoclassical music, in particular tropes established by guitarists such as Yngwie Malmsteen, Jason Becker and Michael Angelo Batio. As such, you can expect especially ornate pieces from Galneryus, perhaps bordering on gaudy depending on your preferences. On that note, let’s move on to Galneryus’s seventh album, “Phoenix Rising.”
Its very existence was seemingly unknown until a month prior to its release date of Oct. 5. In fact, at the time of this writing, Galneryus had only just updated their official website. Was the band afraid that their album would be ill-received? Was their apprehension fueled by the mere thought of judgmental ears vivisecting the fruits of their labor? Regardless of their motives for doing so, I believe that in keeping this album secret they did themselves a disservice. “Phoenix Rising” is, in my opinion, an easy contender for power metal album of the year.
The album begins with a short intro track titled “The Rising.” While the instrumentation is good, at just over two minutes long, I feel it was pointless to have made it its own separate piece. It should have just been included as part of the following song. A minor quip to be sure, but it needs to be pointed out. I don’t know why it has become so commonplace in the world of power metal, but short intro tracks need to be banned.
All tangents aside, the album’s second track, “Tear Off Your Chain,” exemplifies all that is good with power metal. It is a piece driven by powerful lead guitars, thundering drum lines and passionate vocals. The instrumental section that occurs roughly three minutes into the song is simply stunning. During this segment each musician is given the opportunity to demonstrate their skills. From a purely technical perspective, I don’t think Galneryus has ever been tighter. Of special note are the guitar solos that strike a near-perfect balance of clinical precision and timelessness, a feat that is often lost in favor of flaunting one’s mastery.
The album segues into another example of greatness, “Future Never Dies.” In terms of overall composition, it is a more linear piece than “Tear Off Your Chain,” but it serves the important task of maintaining a listener’s interest. Surprisingly, the majority of this track is sung in Japanese (in the past, most of their lyrics were written in English) which is a trait that only adds to its excellence. Without the burden of foreign enunciation, the vocals come off more effortlessly.
“Phoenix Rising” also showcases a fair amount of variety in its songs. For example, “Spirit of Steel” is largely defined by dominant bass lines and percussion. Likewise, “Scars” seems to incorporate elements of jazz (another track sung in Japanese; naturally, the vocal performance is fantastic). Even the album’s two ballads “No More Tears” and “The Wind Blows” are enjoyable in moderate doses. These are but a few of the examples that showcase a band at the peak of their creative form.
Though not a flaw per se, I feel it is important to discuss a certain aspect of Galneryus’s music that is certain to divide listeners: Keyboards. Some will absolutely abhor the bands use of keyboards, especially within the context of solos, while others will laud it as one of the band’s most redeeming characteristics. Personally, I view the keyboard work as one of the crucial features that distinguish Galneryus from other bands in the genre.
Unfortunately, as far as I know “Phoenix Rising” will not be receiving an international release (none of their work has, as I recall), meaning that outside of Japan online venues are the only way of legally acquiring it. Obviously, purchasing items from outside the country can prove expensive. Nevertheless, I believe the price tag is not issue given the album’s quality. Even if you have limited interest in power metal, I strongly urge you to somehow find the means of listening to “Phoenix Rising.”
