| Musical Style: Melodic Metal & Hard Rock | Produced By: Imari Tones |
| Record Label: Kitchen Knife | Country Of Origin: Japan |
| Year Released: 2025 | Artist Website: Imari Tones |
| Tracks: 12 | Rating: 80% |
| Running Time: 57:03 |
Imari Tones independent February of 2025 nineteenth full-length album Coming Back Alive captures the magic of eighties influenced melodic metal and hard rock. Metallic rhythm and lead guitar entwine with a keyed up rhythm section to echo the impactful. Classic tenor vocals reach for an upper end configuring but also show aptitude for bluesy middle register grit. Commercial refinement of a radio friendly AOR nature complements the bustling groundwork to hold sway.
The Yokohama, Japan based power trios musical motive behind Coming Back Alive is to distance from the experimental approach of 2021 (and 80% Angelic Warlord reviewed) predecessor Nabeshima, which incorporated progressive nuances along with traditional Japanese music and multilingual lyrics. In the words of founding member and lead vocalist/guitarist Takahiro ‘Tak’ Nakamine (from the groups press material): ‘(Nabeshima) was unique, and we’re proud of it, but some of our audience found it harder to connect with. So this time, we wanted to create something more straightforward’.
Better known as the first Christian metal band from Japan, Imari Tones stays true to its mission to ‘‘reach beyond their culture to make the music they love and to reach beyond their music to bring Jesus into their culture’ (again, the groups press material). This becomes all the more significant when factoring how Japan (per Wiki) ‘is one of the most secular nations of the world with roughly 500,000 Protestant Christians out of a population of 130 million, which translates to less than 1 percent’. Further details from the group: ‘This world needs a healing. A spiritual healing. We need more Love, not Hate. So this is our spiritual healing in (a musical) form’.
Opener “Above & Below” embodies the newfound Imari Tones eighties-melodic metal penchant. With open-air guitar to start, song rolls forward to catchy riff proclivity and driving low end as Tak shines with his brimming vocal abilities. Energy is through the roof and momentum interminable. Lyric snippet:
How can you say we are the ones to blame
If Jesus Christ has died for us
He’s risen and sits right side of God
Past, present, nor future, no power
Nothing above and nothing below, anything else in the whole wide world
Can’t take us away from Jesus’ Love
Tribulation, distress, persecution, famine, nakedness, peril, or sword? No!
“Love Resurrection” tempers to a melodic hard rock form. Guitar does not hit quite as hard but is prevalent all the same, with gist a melodic environment in which gilded backing vocals suggests of the commercial and layered guitar harmonies the glistening. Crystalline production allows lively bass to rise above the mix.
Album returns to assertive metal territory with “Love Wars”. Tempo is charged, rhythm guitar hits with grit and determination, and climate irascible, Tak lowers his register and brashly exclaims ‘war to war; power to power’. Lead guitar is straight out of the Oz Fox (Stryper) school of shredding. Lyric snippet:
Love those whom no one can love
That’s what He did
He was called Son of Man
Change those things no one can change
That’s what He did
That’s why he’s called Son of God
But still no one seems to believe in love
Does anyone really believe in Love
Can anyone even believe in Love
“Small Flame” is first of albums two AOR inclined tracks. With temperate guitars and warm bass conveying its distance, song speaks of the reticent and stilly done as Tak reveals a lucent side to his vocal abilities. Second “Co-In” gives prominence to a bass driven acoustic basis and bluesy outlines to go with a brimming melody. Credit the group for allowing its lighter side to stand out.
“Message From Above” ensues as an upbeat melodic hard rocker. It imbues a slight pop basis, gleeful and blithesome as enriched backing vocals allow for an immediately identifiable melody, but also an unguarded affinity in light of the heavier guitars to elevate at the halfway point. When further factoring the shred lead guitar, this one ranks with my albums favorite tracks.
“How To Save The Multiverse” trends similar musical territory but in a mid-tempo form. The song brings a laid-back feel from playing up an electrifying (almost jazzy) bass line alongside acoustic elements and almost spoken word vocals. Yet, the intensely done timekeeping contrasts with the meandering (in a positive sense) sensibilities. As much as I take to the Imari Tones heavier material, that on the reserved side is equally commendable.
“What The Devil Hates” sounds like the title to a Stryper song. Musically, it is not that far removed from the yellow and black bedecked four-piece, as Imari Tones reignites its metal side by reinforcing combative rhythm guitar and hulking drums to create albums heaviest. An engrossing side reveals in the catchy vocal melodies repeating the songs title. Lyric snippet:
What the devil hates – a man with thankful heart
The devil hates it - when people pray for each other
What the devil hates - Your desire to spread God’s word
The devil hates it - when we follow Christ no matter what
God’s ways are flawless
His words are always pure
Let God be exalted
The Rock of my salvation
As “What The Devil Hates” ends to a heartfelt ‘hallelujah’, “This Cat Says Hallelujah” fittingly kicks in. Song opens to a recording of a cat voice that sounds as if it is literally saying ‘hallelujah’. According to the groups press material, a cat that lived in an apartment complex in which Tak rented at the time gained renown for its unique ‘hallelujah’ vocalization. Sadly, the cat passed away in a fire that destroyed the apartment building, with the group deciding to use the cat’s voice in memory of its passing.
Musically, “This Cat Says Hallelujah” might uphold a melodic trajectory, but it is also albums only track in which I struggle. Perhaps it is due to a lack of continuity preventing it from seamlessly flowing or the offbeat title, but I tend to pass. Overall, it is not bad, but rather not my cup of tea. That said, I enjoy the hard rock guitar prior to and during the instrumental run.
“Open The Door” ensues as a mirthfully flowing heavy rocker. A perceptible bass line underpins the songs length, accenting the lighthearted pop essence and elevated harmonies to put in place a winsome effect. In another era, this one might fall under the ‘pop’, ‘glam’ or ‘hair’ metal heading. Lyric snippet:
Now you know what you want
Other things they don’t matter
Is that something you can see
or something you can’t even touch
Now take a step and another step
Until you remember everything
Come on world, open the door
Your heart, open the door and Let Him in
Albums title track takes a mid-tempo melodic hard rock stance. “Coming Back Alive” delights in radio friendly essentials, hovering to an immaculate merge of driving guitar and acoustic facets while elevating a melody mirroring the eminent. Melodic harmonizing carries the consummate second coming hued refrain: ‘He’s coming back. He’s coming back to you. He will come back alive’.
Eighties metal anthem “Rock In Heaven” closes the album. It revels in straight on melodic heavy metal akin to early Stryper, as a rampant riff presence gives prominence to abruptly focused momentum and stark energy a youthful exuberance. Yet, an enticing side to the song reveals in the understated capture at once hooks (I see this one turning into a concert favorite). Lyric snippet:
I thought it was in vain, all the songs I wrote on the earth
Until I knew all the things were connected to the one
The words we heard as a kid, now they make sense
They were telling about the everlasting soul
This is Love, and Love is all
Because God is Love, and the world is made of Love
Everything was made by the plan
By Jesus Christ The Rock
Coming Back Alive presents with a choice joining of straight on metal cuts and those of a melodic hard rock nature, with Imari Tones successfully capturing the spirit of the eighties in the process. Tak again proves a choice talent with his multifarious vocal and guitar abilities. Musically, I might hit the skip button once or twice, but otherwise Coming Back Alive proves a consistent listen. If a fan of eighties metal and hard rock or follower of Imari Tones, the album will not disappoint.
Review by Andrew Rockwell
Track Listing: “Above & Below” (5:25), “Love Resurrection” (3:57), “Love Wars” (3:25), “Small Flame” (4:43), “Message From Above” (4:34), “How To Save The Multiverse” (4:34), “Co-In” (5:14), “What The Devil Hates” (4:55), “This Cat Says Hallelujah” (5:19), “Open The Door” (4:58), “Coming Back Alive” (4:26), “Rock In Heaven” (5:28)
Musicians
Tak - Lead Vocals & Guitars
Marie - Bass
Shinryu - Drums
