Band's List Thrash Metal Gargoyle (JAP) Kisho

Japan's Gargoyle has enchanted me ever since I chanced upon their 1989 debut album Misogi, which had an extremely modern sound for its time. Keeping the similar album artwork style of having the album title in the middle of patterned backgrounds right from the beginning, Gargoyle returns this year with 14th full length album, Kisho. As per previous releases, there are certainly high hopes for this album and suffice to say, Kisho does not disappoint listeners at all.

The melodic guitar lines, backed by thrashy riffs combined with the vocals of Kiba, this is unmistakably Gargoyle in their top form. While Kiba's vocals from the beginning took awhile to get used to when first heard on Misogi, on Kisho, it is certainly surprising to see how his vocals has yet to deteriorate at all, the unique, with the gruff yet melodious quality. Right from the beginning of the album from Knuckle Art onWards, the band does not compromise on the musical quality at all, with their perfect and balanced fusion of thrash metal and Japanese rock, a mix that only Japanese bands seem to be able to come up with and excel yet without sounding cheesy at all.

The love for thrash metal is evident throughout the album, such as on the main riff on KoWaku and those on Jibuning, easily sounding like it could come off an 80s Metallica record. Gargoyle has also incorporated various other elements on top of the thrash metal influences, such as the riffing on Kage Ou, which is more reminiscent of melodic death metal, yet sound so fitting and at home with the music on Kisho. On top of that, the lead guitar lines and guitar solos reek of neo-classical influences, which definitely adds a nice touch to the overall feel of the album. The instrumental track Yoru Tsubaki further reinforces this influence. The J-rock influences are also evident such as on the ballad Shinkirou no Naka E, reeking of raw emotions, going from an acoustic section into an epic, tear-jerking second half, complete with a soaring guitar solo. VIVA!-aso-VIVA! is perhaps the most progressive song on the album, with influences ranging from punk to extreme metal all present on the track. The songwriting capabilities are evident, with the band transiting between heavy and soft sections with much ease, such as on Amefuru Kumo no Mukou.

What has alWays made Gargoyle's style of music so enjoyable, on top of the songwriting capabilities of Kiba and co., is how none of the instruments on the album are compromised at all. From the guitars, to the drums and the bass guitar, each instrument is given their time to shine. Unlike most bands with the bass guitar simply emulating the guitar riffs (and tending to end up buried in the mix), Toshi's bass lines take a life of their own, and this is especially prominent on songs like KoWaku and (personal favourite) Amefuru Kumo no Mukou, where the bass lines take a lead role along with the guitars. As mentioned above as well, Kiba's vocals are one of the most notable points on the album and even when he exaggerates the vibrato effects on his vocal lines they do not sound out of place at all and are in fact, well-executed. The drumming of Katsuji is also not to be undermined as he effortlessly transits between J-rock styled beats and furious double-bass pedal powered sections, like on Mumbo Jumbo.

The production quality is also reminiscent of the 80s, with the guitar tone sounding like what would come out of an 80s or 90s era Loudness album, with the Warm and slightly fuzzy tone alternating with a razor sharp one, giving the album an extremely organic sound compared to the over-produced and synthetic tones that most modern metal albums embrace.

Gargoyle, with Kisho has once again proven why they are a force to be reckoned with. The musicianship and expertise of the band shines throughout Kisho, and there is practically no flaw with the album at all. Add to that feel-good melodies that are present on the album, Kisho is definitely the biggest personal highlight of the year so far.