Onmyo Za (陰陽座)

A proposito di inglese, gli Onmyo-Za hanno cantato in questa lingua due volte, non per inediti ma per cover.
Quì canta totalmente Matatabi, una cover superba, in cui pare proprio di sentire Rob Halford

L'altra cover invece è di The Trooper degli Iron Maiden, cantata da Kuroneko. Non male, ma sinceramente a mio parere la voce di Kuroneko non è adatta ad "imitare" Bruce Dickinson. Matatabi comunque rispetto alla moglie sembra avere una pronuncia migliore

Onmyo-Za - The Trooper (Iron Maiden cover)

 

ora me le ascolto appena finisco di ascoltare il Gospel in diretta dalla Casa Bianca

 

Il tipo che traduce i testi degli Onmyo-Za di questo sito ???(Onmyouza) Discography & Lyrics - ???? ~an answer isn't needed~ ha finito di tradurre le spiegazioni canzone per canzone di Rajin Sosei da parte di Matatabi

Matatabi' linear notes di Rajin Sosei (parte seconda)

***Seiten no mikazuki

Anticipazione (Spoiler)

I think this piece requires no explanation since it has already been released as a single. In any case, it depicts yet another "Sekigahara" between Date Masamune and Tokugawa Ieyasu, based on a hypothetical interpretation of history. Following "Aoki dokugan" and "Konpeki no sōjin", it forms the concluding part of the "Masamune trilogy", and having created three pieces of the same Sengoku general, I believe that through them I have been able to properly portray the spirit and way of life of the military general Date Masamune.

On the occasion of putting it on the album Raijin sōsei the piece has been drastically remixed in order to unify the aural image with the other pieces on the album. When compared to the single version, I think you can enjoy it with the thought that "It has a slightly different expression", and simply as a song on the album Raijin sōsei, you should be able to listen to it together with the other pieces without any kind of feeling of strangeness.

This is something that also concerns other pieces besides this; when we collaborate with someone, in most cases, instead of just offers to simply supply a piece of music, the offers we receive ask us enthusiastically to bring the music of Onmyōza into the stories just as it is. Whether it is an anime, a pachinko machine or a video game, they are not collaborations where we merely lend our name, but we take them to mean that we are to respond by writing a hot new piece following our conviction, so in no case whatsoever will we parcel out leftover pieces. In other words, they are all pieces that would not have come into being without those offers, therefore I have nothing but gratitude for being given the chance to create all of the collaborative pieces including "Seiten no mikazuki".

***Kasane

Anticipazione (Spoiler)

Here we have a large piece that is nearly 13 minutes long, the subject matter of which is of course the tale called Kasanegafuchi which was hugely popular in the Edo period. More specifically, the theme of this piece is the supposedly real incident that the story is based on and the sentiments of the people involved. Naturally, instead of just telling a simple ghost story, I have spun the tale from the viewpoint of the characters Rui and Suke.

You should familiarize yourself with the plot of Kasanegafuchi with books or the Internet, but to summarize it without fear of being misunderstood, it goes like this: "A girl (Suke) is shunned just because of her ugliness and is killed either by her real mother or her stepfather. A woman (Rui) who is the younger sister of the girl (Suke) is killed by her husband because of exactly the same reason and later possesses girls that are her blood relatives. However, eventually the prayers and preaching of a great priest allow her to rest in peace." Although the details differ to some extent, this is the general outline of Kasanegafuchi. While I have been waiting for a long time to use Kasanegafuchi as the subject matter of a song, I embroidered the story while being thoroughly particular about that point that even filicide, which is something that we who live in the modern times cannot really criticize unconditionally, has examples that are absolutely unpardonable.

Apparently, in those days it was by no means rare to have to reluctantly part with one's child (whether they survived being a different matter) due to not being able to feed them. At the root of it there has to be the compassion and pity of the thought of "If they are going to helplessly suffer in hunger, it would just be better to..." In the reference material for Kasanegafuchi (at least in all of the materials I checked) it is said about the circumstances of Suke's death that "her stepfather (real mother) found her ugliness 'unpleasant' and took her life..." In other words, it means that instead of being an act out of pity, it was simply selfish, which is backed by the fact that her life was destroyed because of something as silly as the superiority or inferiority of one's appearance. What is this about being "unpleasant"? I cannot be the only one who senses an unutterable amount of brutality and baseness in an act like that. Suke's younger sister Rui also ends up being killed because of the same reason by the man who became her husband because she saved his life.

What I wanted to accomplish with the piece "Kasane" was the retaliation of the two women Suke and Rui. I am absolutely dissatisfied with the story where in the end she is exorcised with the priest's invocations and then everyone lived happily ever after. What's up with the murderer who should have atoned for his deed being protected and the murder victim being deemed an evil spirit and driven away? I wanted to correct that injustice even if it is only within my own piece and to give Rui and Suke the freedom to realize their desires; out of that wish was born this piece "Kasane".

Whether it is the vocals of Kuroneko with their overwhelming persuasiveness that is as if the two (Rui and Suke) had possessed her, or the solos of Maneki and Karukan who express it with their guitars, or the drums of Makoto that beat the pulse of the story, or the piano of Abe that produces indispensable atmospheres for each of the scenes, I am confident that in every aspect this piece has an outstanding degree of perfection among Onmyōza's large scale pieces that are based on actual legends and folklore. I will declare that exactly this is the type of music that only Onmyōza is able to create.

***Higurashi

Anticipazione (Spoiler)

"Higurashi" refers to cicadas and is used as a season word for autumn since they call to mind the ending of summer, and indeed, no matter when you hear it, that chirp has a quality that evokes melancholy and loneliness. With that quality, and like summer is a metaphor for a period of activity, it calls to mind autumn in the same metaphorical sense. Furthermore, by being conscious of autumn your thoughts turn to the winter (the ending) that will arrive eventually. I tried making a song out of that sense of transience just as it is. Although people like me who will soon need to welcome autumn will relate to the contents of the lyrics more than those who are still in the spring of life or those in the middle of summer, no matter what stage you are in, it would be great it if it made you think about the fact that "seasons will pass by."

With the backing of the delicate and graceful piano by Abe that sounds as if it were weaving the air, Kuroneko's vocals touchingly express the very essence of that sense of transience, beautifully sublimating into song the piece's theme that has lyrical and universal charm. According to Kuroneko herself, she staked everything on the way she pronounced the first word, and it certainly worked out. I believe that the mood of the first line completes the "cicadaness" of this piece.

***Shikōshite ugoku koto raitei no gotoshi

Anticipazione (Spoiler)

The title sounds like the pair of "Yue ni sono toki koto kaze no gotoku" on Fūjin kaikō, and that is for a reason. This title also incorporates a concept from the "Military Maneuvers" chapter from The Art of War. (The "move like a thunderbolt" part, together with "as impenetrable as the shadows", was omitted from the famous "Fūrinkazan" flag.[1] "而して" is something I have added to the title; it can be pronounced "shikōshite", "shikashite" or "soshite" and it means the same as "soshite" [and then]) After understanding (agreeing to) the quick speed of life in "Yue ni sono toki koto kaze no gotoku", this piece was born out of the feeling of wanting to reaffirm the way one is to walk that swift life. These are the only two pieces on the two albums that have an interrelationship. My interpretation is that when doing something (moving somewhere) in this life where you cannot afford to waste a single moment, your resolution and vigor should have the power of a thunderbolt. "With that power that is like a thunderbolt, take each step steadily and walk on facing not upwards but forwards;" in the end it also has a direct connection with the conviction of Onmyōza.

An intro that seems to push on with dignified determination, the flow of the singing that resembles the moment when an overflowing power is released, and a striking, rousing chorus are all something that can be said to be characteristic of a heavy metal band, but the piece is also endowed with catchiness that can be said to be unique to Onmyōza. You are also going to be enchanted by Karukan's guitar solo that strikes like a bolt of lightning.

[1] 風林火山 (fūrinkazan / "wind forest fire mountain"): "As fast as the wind, as quiet as the forest, as daring as fire, and immovable as the mountain." The word was inscribed on the battle flag of Takeda Shingen.

***Raibu

Anticipazione (Spoiler)

In Onmyōza's way of saying things,"live" is sometimes written 雷舞, and the piece is indeed about the sights and feelings during concerts.[1] I believe that the tune, the sound and the lyrics are all filled with vitality that calls to mind the atmosphere of live shows. Anyhow, the drumming by Makoto is simply enchanting; this of course can be said for all the other pieces too. In any case, you can directly picture the image of him beating the drums, and in that sense the drums make you instinctively want to shout: "Makoto, you're great!" The other instruments and the singing are also full of bouncy energy that makes you see nothing but the scenery of concerts. Especially from the singing you can sense the smiling faces that fill the concert venues, which include not only the members but the fans too.

I think that the lyrics in which the dialect of my birthplace, the city of Yawatahama in Ehime prefecture, is utilized to the max are also a perfect match for the atmosphere and rhythm of the piece. It is delightful/thrilling how the unique nuances of the Yawatahama dialect create a sound that is far more rock-like than regular Japanese.

Setting aside theorizing, pieces like these you want to play live as soon as possible. Likewise, I hope that all of you will feel that you cannot wait to hear it, see it and sing it live!

[1] ライブ (raibu): "Live" is used in Japanese as a noun in the meaning of concert/gig.

Maoh Taiten (2007)
La qualità è sempre una costante nei booklet degli Onmyo-Za. Da notare poi sul retro dell' album l'assenza del codice a barre ( come del resto su Garyotensei) che però è presente su un talloncino di carta sul dorso, rimovible quando togli il cd dal cellophane. Finora ho visto che solo i giapponesi fanno questa cosa, per non rovinare l'artwork ed hanno ragione ...potrebbero adottare questo sistema tutte le case discografiche del mondo invece di rovinare artwork molte volte meravigliosi con quel brutto codice a barre

I talloncini di Garyotensei e Maoh Taiten

 

è vero. Lo fanno solo loro. Io possiedo un DVD e un CD dei Loudness in versione Giapponese col talloncino rimovibile.

 

Hoshi No Yadori ( da Hoyoku Rindou - 2003), quì dal live del 2013, Shikigami Ōbu.
Una stupenda ballad, per pianoforte e voce

 

Stamane mi sono svegliata con la superba Kumikyoku 'Kurotsuka' - Adachigara (dal favoloso Koujin Rasetsu - 2002 -), dopo mesi di "dominio" della splendida Tyven dei Moonsorrow . Con il mio Lumia 630 ho creato la suoneria (Creazione Suoneria) che riguarda le parti non cantate iniziali di Adachigara (circa 28 secondi). In entrambi i casi sono melodie che infondono tranquillità e che staresti ad ascoltare all'infinito .

Non trovando l'originale metto una cover, per me fatta davvero molto bene. Vocalmente beh, logicamente non è Kuroneko ma è una prova apprezzabile (nel rispetto della voce di chi canta nel video, che ha fatto bene a non arrampicarsi sugli specchi).

 

Cioè come sveglia metti delle canzoni che ti piacciono!??

Mai mettere la propria canzone preferita come sveglia, mai!

 

Il tipo di canzone che imposto come sveglia è una cosa importante per iniziare la giornata.

L'estate scorsa per un po' di giorni avevo impostato Peste Noire - Casse, Pêches, Fractures et Traditions a partire dal minuto 9..."coccoricoooo !". Volevo una sveglia che mi facesse sorridere (perchè la canzone in se è molto ironica e divertente), volevo svegliarmi col sorriso invece mi svegliavo con un po' di shock :freak:

Un po' di volte avevo messo Slavsia Rus degli Arkona dal min. 1.19 in cui partono gli arpeggi di chitarra.
Non era adatta come sveglia neppure quella.

Come sveglia ho visto che è meglio evitare le parti cantate, ritmi incalzanti e certe cose che non mi danno tranquillità appena sveglia. In Tyven per esempio ho tolto la parte iniziale del vento.
La fase del risveglio nel mondo reale deve prima farmi immaginare di stare ancora sognando.

La sveglia che uso comunque deve accompagnare tutti i giorni, in modo da non associarla ad impegni meno piacevoli.

 

Sei ricercata nelle cose allora! Io invece evito di mettere delle cose tranquille come sveglia altrimenti non c'è pericolo che mi svegli Ed anche canzoni che mi piacciano, perchè poi inizierai ad odiarle! Come diceva il meme che girava in rete nelle pagine di trollface.

Infatti per un po' avevo messo la versione metal di un inno sovietico, ma poi stavo iniziando ad associarlo all'atmosfera schifosa, pisciona, sgarbellosa e traumatica del risveglio.
Così ho optato con una sirena di allarme aereo

 

come Abatantuono che si sveglia con la sirena della polizia e poi beve caffè salato al posto di dolcificato

Io invece mi sveglio con musica degli Skyforger- Migla Migla Rasa Rasa mista ai Laiksne che sono una Folk Ensemble Lettone che canta in lingua Locale della Regione del Latgale. Ecco il titolo del Pezzo: Laiksne - Tautasdziesma (Gaismeņa Ausa).

 

Andiamo OT ma comunque bella!! Grazie! Ecco se io mettessi una cosa del genere come sveglia continuerei a dormire sognando i boschi lettoni

 

invece ci sono giorni che davvero mi sveglio con il secondo disco degli Omnyouza misto al gruppo MT.FUJI che sono i Loudness former members