In the realm of progressive music, where creativity and innovation are often celebrated, it's easy to overlook the power of sticking to one's strengths. Unlucky Morpheus, a Japanese power metal band, embodies this philosophy with their latest album, 'Gate of Hell'. While some may criticize them for lacking creative growth, I argue that their unwavering dedication to their signature sound is a strength in itself. In this article, I'll delve into why Unlucky Morpheus' latest release is a triumph of virtuosity and why their formula works, even if it doesn't change much.
The Virtuosity of Unlucky Morpheus
What sets Unlucky Morpheus apart is the sheer talent of their members. The band's guitarists, Shiren and仁耶, are virtuosos in the truest sense. Their shredding skills rival those of Japanese guitar legends like Syu (Galneryus) and Hizaki (Versailles, Jupiter). While their playing is often restrained, utilizing chunky riffs that serve the songs, it's in the solo sections where they truly shine. The guitarists pop off, tapping spiraling arpeggios together while drummer Fumiya Morishita injects groovy fills into his blast beats. The standout performer among all the virtuosity is Jill, whose violin somehow matches the blistering pace of the neoclassical guitar solos, both in verbatim harmonies with them or by taking a solo lead. The jaw-dropping bow performance from Jill has always been a key aspect of Unlucky Morpheus' signature sound, along with Fuki's distinctive voice.
The Power of the Formula
One might argue that Unlucky Morpheus' formula is too predictable, but I believe that's a misconception. The band's ability to execute the more basic trappings of power metal with excellence is what makes their music so compelling. The choruses are infectious, with melodies one can easily hum along to after a single listen. Fuki's vocals are first-class, with her luxurious tone and masterful control over borderline excessive vibrato. While not every genre cliche works well, Unlucky Morpheus manages to make them work, as seen in the prominent industrial metal influence in 'Godforsaken Silence', which they mix with a harpsichord melody in a decidedly non-stereotypical usage of the instrument.
The Limitations of Aggression
While I appreciate that 'Gate of Hell' tries to be the most aggressive Unlucky Morpheus release in a while, the 'beauty and the beast' aesthetic so common in symphonic metal falls flat. Shiren's growling harshes are decent, but they don't meld well with the upbeat power metal. Fuki's belting, strong and full of vibrato, easily equals the energy of the heaviest sections well enough that the harsh vocals are unnecessary. In my opinion, power metal with growls is a bit antithetical to the genre, so with the rest of the album seeing Unlucky Morpheus being disciples to the Japanese power metal sound, there is a fundamental mismatch.
The Takeaway
'Gate of Hell' is a slab of virtuosic Japanese power metal heaven that old and new fans alike should love. The record is a bit surface-level, only taking a single listen for me to fully understand and appreciate its solos and choruses. But 'Gate of Hell' is also replayable any time you want anthemic, fun music. If Unlucky Morpheus keep releasing stuff to this caliber, I don't care how long they do so without changing it up too much. Personally, I think their formula works, and I can't wait to see what they do next.
