Metal de Facto “The Land of The Rising Sun Part I” for #MetalChronicles
Band: Metal de Facto
Title: The Land of The Rising Sun Part I
Label: Rockshots Records
Release date: February 9th, 2024
Country: Finland
Format Reviewed: High-Quality Digital Recording
A Journey Through History and Emotion: Metal de Facto’s “Land of The Rising Sun Part I”
“Explore the captivating stories and rich musicality of Metal de Facto’s “Land of The Rising Sun Part I.” A precise fusion of history and emotion, showcasing the band’s unique sound and the remarkable vocal talent of Aitor Arrastia. Discover the depth of the narrative and the sonic personality of each song, paying tribute to the Japanese ancestry.” (By Elyna Steel)
By now, some of you already know my particular way of listening to music. I am autistic. Therefore my almost obsessive way of enjoying music. The point is that I listened to an album that was released on February 9 this year. I do listened to it – on loops, for several hours. It is “Land of The Rising Sun Part I”, the second studio album by the incredible Metal de Facto, distributed by Rockshots Records.
This album comes 5 years after their Rome-themed first work, “Imperium Romanum”, which revealed a talented line-up composed by guitarists Esa Orjatsalo (ex Dreamtale) and Mikko Salovaara (Kiuas), bassist Sami Hinkka (Ensiferum, ssSHhh), the wonderful keyboardist Benji Klint-Connelly (Everfrost), drummer Atte Marttinen (ex Kivimetsän Druidi) and the incredible and multifaceted vocalist Mikael Salo. In 2022, Mikael parted ways. Soon after, the band announced the addition of Aitor Arrastia as vocalist and the release of their second two-part concept album Japan-themed.
These guys love history and find in it an infinite source of inspiration, identity and fun. We could say that Metal de Facto makes metal out of historical, non-historical facts. And in doing so, they achieve a striking narrative, an identity sonority and their own stamp within the genre.
In the case of “Imperium Romanum”, I was blown away when I discovered it a year ago. Yes, recently! Songs like “The Ascending of Jupiter”, “Germanicus”, “Echoes in Eternity” or “Inferno” fascinated me for their sonorous richness and technical perfection. Although the very first track I listened to was “The Conqueror”, the one that made me a diehard fan of Mikael Salo.
With this background in mind, the expectations I had before listening to “Land of The Rising Sun Part I” were high. At first I didn’t listen to it in chronological order, but randomly while I was on my way somewhere. But a few weeks ago I decided to listen to it from start to finish. The result was that I discovered an endearing album. And although it is power metal by any standards, within this soundscape there is rhythmic and melodic richness, there is hook, there is groove.
The vocals meet the expectations. Aitor has vocal personality, as well as technique and talent. Perhaps the fact that he is Spanish gives him a flamenco, almost gypsy stamp to his phrasing and vibrato. Another thing that stands out in Aitor’s voice is that his timbre reminds me of the great Olaf Hayer, who was the voice of Luca Turilli and Dionysus in the 2000s. Great success in terms of vocal replacement.
“Land of The Rising Sun Part I” brings 8 tracks. Opening this chapter is the second single, “Rise Amaterasu”, which lasts 05:23′. I define it as “safe sounding”, especially for neurodivergent metal brains, you know what I mean. It’s a track to loop on my playlist. It makes me feel happy, energized and confident.
It’s classic power metal, although it has diverse elements that enrich the listening experience. We know the album is Japan-themed, and in terms of conceptual-melodic coherence, the harpsichord sound manages to subtly Japanify the atmosphere.
The song kicks off with a spectacular drum roll and precise riffs, giving way to vigorous keyboard arpeggios, which add a layer of emotional depth and set the mood for what’s to come. The mind-blowing rhythmic and instrumental synchrony is topped by a powerful two-part heavy metal scream. The voice enters in a medium-bass register, then flawlessly ascends through the different portions of the track, unveiling the gypsy sonority and dramatic wailing that makes Aitor a power metal flamenco singer. Benji’s beautiful keyboard is reminiscent at times of Sonata Arctica, although Benji has a sound all his own. He is an acrobat both on stage and on the keyboard and his clever arpeggios are his personal trademark.
The two-part guitar solos bring to mind the sonority of Iron Maiden and Stratovarius. Meanwhile, the bridge that comes later breaks the structure and creates a calmful moment. I feel the frisson every time I get to that part of the track. The rhythm slows down, the keyboard in the background unifies the whole instrumental line and the polyphonic chorus conveys a feeling of nostalgia and summoning. The tone rises in the final portion, ending with another visceral scream, and provoking a new frisson.
All in all, “Rise Amaterasu” is a confident and gripping experience, a mixture of emotion and energy that to my ears reveals new elements and feelings with each listen.
The second ride is the album’s first single, “Code of The Samurai” running for 03:11. It’s a curious, contradictory track – in a good way. The melody is ridiculously infectious. Its rhythm, the riffs, the keyboards, the vocals, all the elements literally play to create a fun sonic adventure. Otherwise, the lyric tells the emotional story of an aging Samurai warrior riding into what may be his last battle. That subject matter is serious! Ahh, but the music? Hell no!
If you take out the lyrics, it’s a perfect song to hop in the car, step on the gas and get the hell out of there while enjoying the ride. Even without taking out the lyrics, you can continue on your trip to hell while singing the song at the top of your lungs, without realizing the seriousness of the matter thanks to the festive and catchy melody. Contradiction made song! In this sense, Metal de Facto are true masters of contradiction, because they manage to create lyrical atmospheres that contrast with the melody, and the other way around. And do it perfectly!
Now, fun doesn’t mean disposable or flat, don’t get it twisted. The melody of “Code of the Samurai” evokes some sounds of traditional Japanese music, brilliantly merging with heavy/power metal. Also it’s s very bass-and-guitar-driven, so it flows freely through the senses, reaching the hands, which go into stick mode, and the neck, headbanger mode. So if you want exotic sounds, heavy metal with spectacular vocals, catchy choruses, and rhythmic beats, and don’t mind singing an emotional story in party mode, this song is for you.
The next track is the surprising “Heavier than a Mountain,” clocking in at 06:09 and breaking the fast rhythmic pattern of the previous two, slowing down the scheme. The minor tuning imparts a nostalgic stamp to the overall sound. Both the intro and the outro evoke the sound of Iron Maiden, although Metal de Facto doesn’t get lost in the fog, by the way. The bass stands out in the verses, while the guitar plays a secondary role in the choruses and verses. However, in the interludes, solos, and bridges, the guitars include some altered notes, creating unsettling atmospheres and conveying sensations of mystery, anticipation, and anguish.
Overall, the voice and the keyboard steal the show. Aitor’s voice evokes a powerful General Herald as he interprets the emotive lyrics, making the rhythmic chorus stick in your head like a mantra. That interpretation—here I moved away from Japan and arrived in Middle-earth—recalls the emotion conveyed by Aragorn’s speech to the Men of the West before facing Sauron in The Return of the King.
The brilliant keyboard gives the composition a Japanese stamp while unifying the atmosphere, providing balance to the whole and adding a layer of complexity and beauty. Benji Connelly is an exceptional maestro and a keyboard gymnast, a show in himself. It had to be said, and it was said!
In summary, “Heavier than a Mountain” is the kind of song you listen to in everyday situations like the commute to work or school. And in that span, in that brief moment, you discover a beautiful gem and it becomes a cherished anthem that you know will accompany you for many years.
“Slave To The Power” is one of the most classic power metal tracks on the album in terms of guitars and rhythm section, although it brings some surprises. It is the fourth track, with a duration of 03:27’. This powerful track with a galloping pulse and captivating riffs showcases diverse sounds; Steve Harris in the intro, Helloween throughout, and even “Welcome to Paradise” by Green Day, though with a faster pace. Besides, the bass plays an important role in this catchy track.
Just like “Code of The Samurai,” it is somewhat contradictory in terms of the relationship between lyrics and music. Being melodically very energizing and entertaining, the lyrics show the deep and dramatic reflection of a man trapped by the system, seeing how he spends his lifetime working to enrich others, sacrificing health, family, and youthful dreams. A big slap in the face for many of us who feel trapped in an oppressive system but are unable to react to free ourselves. And that’s why, apart from their talent as a band, Metal de Facto has a unique ability to turn some of their songs into luxury musical dichotomies, something difficult to achieve even among the genre’s icons.
With rich harmonic riffs, a spectacular solo, catchy choruses, a powerful rhythmic base, and a wonderful keyboard that harmonizes the whole, “Slave To The Power” is an endearing piece for any power metal fan who loves the classic sound yet enough open-minded to enjoy the pop-punk touch this track brings.
The fifth track is “Divine Wind”, occurring over 05:31’. There are several, remarkable elements of this track.
To start, it is one of my favorites. Additionally, the great Sami’s bass is very present throughout, adding intensity to the lyrical narrative—very much in line with the melody. Next, Aitor’s vocal performance here reflects his Spanish origin and his seductive flamenco gypsy vocal identity, full of power, chest-throat resonance and intense emotion. Moreover, Aitor empowers himself with the story, makes it his own and narrates it dramatically and convincingly.
The narrative of the lyric is applicable to many moments in history. Different peoples saw how their culture was about to disappear due to the foreign invasion. However, Nature (Gods or Spirits) defended and saved them, unleashing terrible storms that wrecked the enemy fleets and killed all the invaders. In this particular case, the divine wind are two typhoons or Kamikaze that, according to belief, saved Japan twice from the Mongol invasion.
Finally, the overall orchestration is completely in tune with the lyrics. The minor tuning and the Andante medium tempo lay solid foundations for lyrical development, which, together with the verses, choruses, solos and bridges, create a poignant sonic adventure. All of these elements make “Divine Wind” one of the best tracks on the album, according to my obsessive expert ear.
The divine winds cease to make way for the third single from the album, “Tame The Steel,” clocking in at 04:09’. The lyrics depict the journey of the archetypal Blacksmith, whose existence and mastery are crucial for the survival of his people. This anonymous hero has in his hands the challenging and noble mission of taming steel to forge the perfect sword to fight against the enemy invader, tyranny, betrayal, and injustice. Despite the pain and the temptation to give up, his desire to master the art of forging perfect swords drives him to keep going until he achieves that dream. Through this narrative, we are reminded that the true path to achieving our goals is through personal struggle and perseverance.
With sounds reminiscent of Judas Priest, Manowar, and Helloween, added the bass standing out in the mix, this shot is one of the most contagious in rhythm, melody, and lyrical and vocal musicality. And it’s another one of my “safe songs”, due to its melodic/rhythmic pattern, which is predictable and balanced. This provides a sense of familiarity and comfort that calms my nervous system while energizing me at the same time.
Its powerful riffs, the crushing rhythmic base, the epic atmosphere provided by the keyboard, and Aitor with his noticeable timbre turn “Tame The Steel” into a powerful sonic experience and a must-have that reflects the greatness of the genre.
“Superstars” is the next chapter remaining for 05:45’. The theme revolves around the festive and communal spirit, represented by the traditional Japanese festival Yosakoi, a word repeated three times in the pre-chorus. With its cheerful rhythm and intense choreography, Yosakoi is the moment when all differences are forgotten. Everyone dances, everyone smiles, everyone feels alive again. The dancers, normal people, are all superstars for a moment, shining with their own light to the rhythm of the music, which is the only language that matters.
Musically speaking, “Superstars” is the most seductive of the entire album. Its rhythm is lively with intense groove riffs and a powerful rhythmic base. The overall orchestration is mysterious and unsettling in the intro and verses, although it changes in the interlude and choruses, which take on a festive and relaxed tone. The chorus of the song is especially catchy, with polyphonic harmonies that accompany Aitor. And again, Benji’s keyboard perfectly connects the different segments of the track, adding a layer of eloquence that enhances the various tones.
Another notable point is the semi-silence that occurs before the last third of the track, following the captivating solo and the bridge, which includes a Hammerfall-style chant, ending with the chorus fading out.
In brief, “Superstars” is a song that playfully invites you to dance to the rhythm of metal and very well reflects the sense of brotherhood that should exist within our genre. Just like Yosakoi, metal is the space where metalheads can come together, express themselves, and enjoy together, regardless of their preferred subgenre. I left it for reflection.
And closing this epic journey, “47 Ronin” appears. This spectacular 12-minute rhapsody narrates the Japanese legend of the 47 Ronin, also known as “The Akō Incident” according to historical annals. These 47 samurai became Ronin (masterless samurai) after their daimyo was forced to commit seppuku for assaulting a government official. They planned their revenge for a year and a half, enduring the insults of those who called them traitors for their apparent inaction. When the day finally arrived, only 47 Ronin showed up for the appointment, but they were undeterred. They managed to avenge their master by decapitating the courtier. Then they took his head to the Sengaku-ji temple where their daimyo was buried. They prayed, and, honoring the motto “The way of the Samurai is death”, they surrendered and were condemned to commit seppuku. This striking lyric reminds us that often the “facts” we conceive as history are the versions of those in power and not the complete truth. After all, behind every historical narrative, there are many other versions that remain hidden; this time there are 47 versions that we now know.
Regarding the music, the song is completely coherent in melody, narrative, and rhythm. It is structured in several segments with diverse sounds and rhythms; the spectacularity of Hammerfall in the rhythmic base, Symphony X in the keyboards at the beginning, and “Bohemian Rhapsody” in the central section. You can also feel the vibe of Stratovarius in “Infinite,” Helloween in the guitars, and Luca Turilli in the vocals. There is a ballad-like section with solo piano and a beautiful vocal-melodic orchestration that gave me a huge frisson. The same thing happened to me with the beautiful power metal ballad bridge that follows. Some might say it sounds like many other songs, but it’s wonderful! After this, another break comes, darker in tone and faster in tempo. The voice is the narrator recounting the dramatic events of the ronin’s revenge and their final fate. The ending is a sequence of stable orchestrations, with melodic riffs at a walking tempo and ending with the keyboard, whose celestial sound is the offering of flowers in honor of the 47 Ronin and their lord. The brief speech of the narrator here adds a proper closing to this masterpiece.
Overall, “The Land of The Rising Sun Part I” by the endearing Metal de Facto not only honors Japanese culture in its different layers, but explores the duality of tragedy and celebration through the poignant interconnection of lyrical narrative and music. This characteristic reveals a rare talent, even among the icons of the genre, and positions them as one of the most intelligent and interesting groups in terms of musical composition.
The eight tracks that make up this work combine familiar sounds with the distinctive sound they have achieved since their beginnings in 2019. Their profound stories bring us echoes of a past we never knew and invite us to question the objectivity of so-called “historical facts”. Many times, the official version of a story is only part of it, with different voices being silenced, yet resonating through the ages seeking to be heard.
Finally, the vocal performance of the surprising Aitor Arrastia, with his captivating and distinctive flamenco-gypsy timbre, enhances the mood of denunciation, justice and party, and it is a great success in the vocal transition following the departure of the impressive Mikael Salo.
It is to be expected that part 2 of this story will bring us new experiences and soundscapes as moving, vibrant, and brilliant as in this Part I. And I really hope they continue making metal based on facts, because by doing so they combat the ignorance of many of us regarding the past and help us build our collective memory as human beings. 10/10 by Elyna Steel
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