| Musical Style: Metal/Hard Rock | Produced By: |
| Record Label: Slip Trick | Country Of Origin: Japan |
| Year Released: 2021 | Artist Website: Imari Tones |
| Tracks: 12 / 12 | Rating: 80% |
| Running Time: 52:01 / 54:50 |
Yokohama, Japan based Imari Tones has a lot to be proud of. Culturally, the group is renowned as the ‘first Christian metal band from Japan’, which is significant when factoring how Japan is one of the most secular nations of the world with roughly 500,000 Protestant Christians out of a population of 130 million (translating to less than 1 percent). Hence, the opportunity for Imari Tones to influence its environment, particularly in light of its dual goal to ‘reach beyond their culture to make the music they love and to reach beyond their music to bring Jesus into their culture’ (noting the groups press material).
Musically, Imari Tones remains the project of founding member and guitarist/vocalist Takahiro ‘Tone’ Nakamine, whom came to the faith in December of 2007 when attending an acoustic concert in Tokyo. The Christian artists performing at the show opened his heart to the faith, which led him to conclude Jesus was the larger meaning behind music he always felt was there. Tak’s musical influences, including Van Halen, Stryper, Rush, Living Color and Led Zeppelin, play a role in recent Imari Tones albums Revive The World (75% Angelic Warlord review), Jesus Wind (80%) and Overture (65%). Specifically, I hear a foundation of eighties influenced melodic metal and hard rock but imbued with occasional progressive and AOR to pop based overtones.
Musical direction to the groups July of 2021 ninth full length album Nabeshima follows suit. It separates from its predecessors as a ‘double album’ consisting of 24 songs, with 11 in English, 11 in Japanese and 2 instrumentals. Whereas not concept based, Nabeshima (as taken from the groups press material) ‘incorporates Japanese traditional essence into Christian metal music’, while taking the listener on ‘a mysterious journey through ancient Japan’ where ‘Japanese traditional culture and Christianity meet’.
Due to the wealth of material involved with Nabeshima, I felt it would work best to forgo one of my standard track by track breakdowns in favor of breaking things down by individual disc instead.
Disc One
I take to the heavier Disc One material, comprising the Stryper like melodic metal of “Passion”, opening to searing guitar feedback ensued by fast paced riffing, battering drums and all the vibrant hooks you could ask, and “Atomic Jam”, in similar high-energy vein but imbued with offbeat keyboards and periodic slower melodically driven moments. Underscoring the two are generous stretches of Tak’s very ably done distorted lead guitar work.
Other heavier highlights include “1,2,3,4 & 5” with its mid-tempo hard rock qualities bringing a bluesy essence to play up fitting grainy guitars and “God Anthem” (a take on the Japanese National Anthem) in playing a boogie metal ardor as high end vocals and prodigious low end hold sway. Two demonstrate the quality musicianship carries over to rhythm section of talented newcomers Shinryu (with his heavy-footed drum presence) and Marie (providing the stable bass lines).
In a melodic hard rock direction is “Lord’s Prayer” to reflect a tempered disposition from emphasizing lush harmonies and Tak’s classic tenor vocals and “Jidai” in similar form in reflecting the bright and airy but interspersed with open air guitars. “Sakura Day” heads in a mellower direction as a warm and inviting acoustic rocker, while “Sakura Night” proves a companion track with its reserved, easy-going timbre pointing towards moody ARO. “Yamagoya3” stands alongside as three-minutes of instrumental acoustic rock.
Any album with such a high volume of material as Nabeshima is going to have some chaff. Neither “Extravaganza”, three minutes of bass driven hard rock with expeditious riffing, nor “Chanbara”, upbeat with vocals ranging from chanted to aggressive, bring the hooks to draw me in on consistent basis. Likewise, I pass on “Bloodthirsty” as another upbeat rocker but with spoken word vocals not to my taste.
Disc Two
Disc Two features some of my favorite Nabeshima material. “Crucified Boy” separates in this regard as a refined but razor edged joining of lithe bass and consummate melody speaking of the eighties as does “Sonic Soldiers” in mirroring a pop metal basis with its catchy riffs and festive demeanor. Of note is how the pair reflects albums transparent production allowing all instrumentation, particularly breathing bass and clean guitar leads, to stand out.
This reviewers choice cut is “Screaming Sin” with its darker, traditional metal feel in upholding albums most profound guitars (sort of like Saint) but also not forsaking hooks (quite catchy despite the turbulence). Aggressive drumming and feedback driven soloing build upon the incisive complexion.
In a more melodic direction is “Who Are You”, upbeat and lively AOR with smooth harmonies but not backing from muscle as guitars make periodic forthright statements, and “Not Of This World” (not a Petra cover) as a straight out of the eighties upbeat rocker central to a mirthful party rock feel and layered backing vocals. Disc Two also explores acoustic territory with “Tsukura” as a two and a half minute folk rock instrumental and the stylish “The Garden” also hearkening to the eighties with expansive vocals and soaring refrain.
I also take to albums progressive material. Cannot go wrong with five and a half minute “Redemption” home to time changes in the form of guitar and bass interplay to start and interspersed throughout alongside composed verse sections and classy refrain. Likewise, “Utage” offers diversity in the form of off kilter opening upheld by acoustic guitar and keyboards but giving way to monster rhythm guitars and expeditious proclivity.
A step down but still good is “Sengoku Christians” and “Matsuo”, solid up-tempo melodic hard rock with subtle pop essences and driving rhythms, and “One In A Lifetime”, maintaining the energetic vitality but in a commercial AOR form.
Summary
I understand why Imari Tones went the double album route in light of the wealth of quality material in its possession. Nabeshima in my opinion features some of the groups finest songs when factoring “Passion”, “Atomic Jam”, “God Anthem”, “Crucified Boy”, “Sonic Solders”, “Screaming Sin”, “The Garden” and “Redemption (to name a few). That said, as with any album featuring such a high volume of material, Nabeshima also presents with some potential skip buttons or at the very least several songs not on the same level as others. Still, one cannot deny the quality musicianship in light of Tak’s excellent lead guitar work in addition to solid rhythm section of Shinyu and Marie. If anything, Nabeshima finds Imari Tones coming into its own and leaving this reviewer excited about any follow up release.
Review by Andrew Rockwell
Track Listing (Disc 1): “Passion” (4:59), “Lord’s Prayer” (5:35), “Sakura Day” (4:40), “Atomic Jam” (5:07), “1,2,3,4 & 5” (4:23), “Sakura Night” (5:12), “Extravaganza” (3:15), “Chanbara” (4:38), “Yamagoya3” (2:50), “Jidai” 94:34), “Bloodthirsty” (3:28), “God Anthem” (3:16)
Track Listing (Disc 2): “Crucified Boy” (4:28), “Sonic Soldiers” (5:02), “The Garden” (5:08), “Who Are You” (4:30), “Sengoku Christians” (4:17), “Screaming Sin” (4:47), “Matsuo” (3:55), “Once In A Lifetime” (5:03), “Redemption” (5:31), “Tsukuru” (2:21), “Not Of This World” (4:59), “Utage” (4:45),
Musicians
Takahiro ‘Tone” Nakamine - Lead Vocals & Guitars
Marie - Bass
Shinryu - Drums
