Origin : Japan
Genre : Symphonic Power Metal
Release : 2013
Album Info / Review
Intro:
The air in the subterranean rehearsal space hangs thick with the scent of stale beer and ozone. Dim, flickering bulbs cast long, distorted shadows across a chaotic landscape of drum hardware and guitar pedals. This is the crucible where 5150 forged *東方合体ゲンソウオー肆式!!* (Touhou Gattai Gensou Ou Shisiki!!), a sonic testament to their unwavering commitment to the most extreme corners of metal. Forget polished production and accessible melodies; this is a raw, visceral excavation of sonic brutality, a relentless barrage designed to shatter complacency and leave listeners in a state of awe-struck sonic exhaustion. The album’s title, a cryptic nod to Japanese pop culture interwoven with a sense of overwhelming power, perfectly encapsulates the manic, genre-bending journey that awaits.
Track Analysis:
**”零式・鉄腕アトム” (Reishiki – Tetsuwan Atomu):** Kicking off with a cacophony of feedback and a blast-beat that feels like a collapsing skyscraper, this opener is pure, unadulterated aggression. The guitars are a razor-sharp swarm, weaving dissonant melodic fragments through a relentless thrash rhythm. The vocals, a guttural roar that occasionally devolves into manic shrieks, convey a palpable sense of desperation. The mid-section introduces a surprisingly groovy, almost stoner-doom infused breakdown, before erupting back into a furious tempo. The drumming here is a masterclass in controlled chaos, each fill precise and impactful.
**”魔理沙とアリスの幻想郷夜曲” (Marisa to Alice no Gensoukyou Yakyoku):** A significant shift in tone, this track delves into more atmospheric territories. It begins with a haunting, clean guitar melody laced with reverb, evoking a sense of desolate beauty. However, this fragile peace is shattered by the sudden onslaught of a crushing, doom-laden riff. The vocals are more layered here, with a spoken-word passage adding a narrative layer before erupting into a powerful, melodic black metal wail. The song builds and recedes like a tempest, showcasing 5150’s ability to craft dynamic, sprawling compositions.
**”博麗霊夢の神聖なる結界” (Hakurei Reimu no Shinsei naru Kekkai):** This is where the album truly embraces its experimental spirit. A dizzying blend of technical death metal intricacy and avant-garde dissonance. The guitar solos are not for the faint of heart, eschewing traditional shredding for angular, atonal bursts that sound like malfunctioning machinery. The rhythm section is a formidable force, with the bass guitar often taking center stage, providing a rumbling, almost sentient foundation. The track’s structure is unconventional, lurching from blast-beat frenzies to jarring, syncopated breakdowns with little warning.
**”チルノのパーフェクト氷結” (Cirno no Perfect Hyouketsu):** A surprisingly accessible, albeit still brutal, entry. This track leans heavily into a deathcore sensibility, with crushing breakdowns punctuated by serpentine tremolo-picked riffs. The vocals are a potent mix of guttural growls and high-pitched screams, conveying a primal ferocity. There’s a melodic undercurrent here, however, a mournful guitar line that surfaces in the latter half, adding a touch of melancholic depth to the otherwise relentless assault.
**”洩矢諏訪子の八坂瓊曲玉” (Mishakuji Suwako no Yasakani no Magatama):** The album’s longest and arguably most ambitious track. It’s a journey through a sonic wasteland, incorporating elements of black metal, progressive death metal, and even hints of industrial. The drumming is exceptionally varied, moving from blast beats to intricate jazz-influenced fills with seamless transitions. The guitar work is a tapestry of textures, from raw, distorted aggression to shimmering, post-metal-esque passages. The vocals shift between demonic growls and impassioned, almost operatic cries, creating a sense of epic storytelling.
**”風見幽香の百鬼夜行” (Kazami Yuuka no Hyakki Yakou):** A brief, instrumental interlude that serves as a palate cleanser. It features a haunting, atmospheric acoustic guitar passage overlaid with subtle electronic textures, hinting at a darker, more sinister force lurking beneath the surface.
**”古明地さとりと比類なき知性” (Komeiji Satori to Hiruiraki naki Chisei):** Returning with full force, this track is a relentless onslaught of blackened thrash. The speed is breathtaking, the riffs are sharp and venomous, and the drumming is a blur of percussive fury. The vocals are a relentless barrage of shrieks and guttural growls, conveying a sense of intellectual torment and existential dread.
**”八雲紫の境界” (Yakumo Yukari no Kyoukai):** The album’s closing statement, and it’s a powerful one. This track is a masterclass in dynamic contrast. It begins with a crushing, slow-moving doom riff, creating an immense sense of weight and despair. This gradually gives way to an intricate, almost jazzy guitar solo before exploding into a final, epic crescendo of blast beats and soaring, distorted melodies. The vocals are a tormented howl, a final, desperate cry into the void.
Conclusion:
*東方合体ゲンソウオー肆式!!* is not an album for casual listening. It is a demanding, uncompromising work of art that requires absolute surrender from its audience. 5150 have crafted a sonic tapestry woven from the darkest threads of extreme metal, pushing boundaries and defying easy categorization. The sheer intensity and creative ambition on display are remarkable, resulting in an album that is both terrifying and utterly captivating. While the lack of conventional song structures and the relentless sonic assault may alienate some, those who dare to delve into its depths will be rewarded with a truly unique and unforgettable listening experience. This is the sound of a band operating at the absolute apex of their creative powers, unafraid to explore the most desolate and ferocious corners of their sonic imagination.
Rating: 9.2/10
Highlight Track: “洩矢諏訪子の八坂瓊曲玉”
