Galneryus “The Stars Will Light The Way” for #MetalChronicles
Band: Galneryus
Title: The Stars Will Light The Way
Label: Warner Music Japan
Release Date: September 25th, 2024
Country: Japan
Format Reviewed: High-Quality Digital Recording
Galneryus – The Stars Will Light The Way: A Neoclassical Metal Marvel.
“Experience the brilliance of Galneryus, Japan’s leading neoclassical metal band, with their latest album The Stars Will Light The Way. A journey of emotional depth and electrifying energy straight from the Land of the Rising Sun.” By Elyna Steel
Welcome to a new chapter of “The Metal Chronicles”, the space for metal gems releases from the last twelve months. Today we will travel to Japan, the beautiful land of the rising sun, together with top-notch guests; Maestros Galneryus. One year after the release of “Between Dread And Valour”, the band brings us their wonderful album “The Stars Will Light The Way”, released on September 25, 2024, under Warner Music Japan. The eleven songs that make up this work show why Galneryus is the best neoclassical power metal band today. Beyond their ability to maintain the feel and groove, is their incredible ability to “translate” the complexity of progressive music that makes them so amazing.
With Masatoshi Ono on vocals, Syu on guitars, Yuhki on keyboards, Lea on drums, and the impressive Taka on bass, Galneryus shakes up the neoclassical scene with this new gem, which we will analyze below.
The 02:36-minute opening is “Go Towards The Utopia”. Composed in a major key and structured in an Andante tempo, this spectacular intro evokes the imagery of a triumphant march. People face adversity, with their hearts beating full of fire as stars that light the way. Maestro Syu’s guitar, together with Lea’s precise and elegant percussion, plus the great presence of Taka’s bass, and the splendid keyboards of the great Yuhki, create a rhythmic and melodic alchemy full of magic and sophistication, opening the curtain on this new act.
The next track is the wonderful single “The Reason We Fight”. This cut has a dramatic video clip on YouTube. When I saw it, I felt very sorry and angry for the boy and his mother. Well, enough spoilers.
Lyrically speaking, “The Reason We Fight” brings a universal message transcending time, race, nationality, and language. The story tells an odyssey of pain and internal struggle, in search of light. It is the desperate cry of a soul in the middle of a dark labyrinth, where there is no way out. However, the memory of a mission to fulfil drives them to get up and continue to battle. The ultimate moral here is: “The pain of the soul won’t heal through inaction.” Instead, feelings, emotions, and unpleasant experiences can be turned into fuel that ignites the heart and drives it forward, facing life with hope and faith.
Clocking in at 07:33, the song features a fast marching-galloping tempo. It starts with a powerful roll followed by a spectacular melodic base, with Syu starring in the first chords, giving way to the keyboard that harmonizes the atmosphere. The tempo slows down and changes structure in the first verses, where the voice of maestro Masatoshi Ono enters relaxed and soft, like a caress to the senses. As the song progresses, tonal and rhythmic progressions occur. Progressions that don’t feel forced or dissonant. On the contrary, the track is fluid, dynamic, and perfectly executed.
In addition, no instrument stands out above the rest; rather, the entire ensemble operates as a synchronized system with exact precision. The catchy polyphonic choruses featuring Akane Liv (Akane Liv, Liv Moon) and led by Masatoshi are anthems that stay in your memory. After the chorus, spectacular guitar and keyboard solos follow, merging before the interlude of the final section. The key rises in the last choruses, leaving your heart on fire and closing spectacularly with an intense and precise drum roll—very Galneryus style.
In sum, “The Reason We Fight” is one of my favourite tracks from the album. It is also a new, epic anthem of the genre, demonstrating that Galneryus are alchemists of balance, adding layers of depth and making the complex flow.
“Lost In The Darkness” goes third, enduring 04:48’. The lyrics speak directly to this “someone” who bitters the protagonist’s life. A nefarious, evil, manipulative, and lying being from whom it is urgent to separate to save one’s life and sanity.
This makes me think of so many harmful beings who disguise themselves as victims of destiny to turn all their frustration, their bad experiences, and their suffering onto other innocent people. Narcissists, psychopaths, egocentrics, and all those who do not know empathy, who find it worth it to cajole others with beautiful words, love bombing, and all kinds of tricks to hypnotize and take advantage of them. So guys, pay attention to the signs; if you relate to this lyric and think of someone, whether a family member, friend, partner, co-worker, boss, etc., walking away is the only option for not getting lost in the hell of their darkness.
Regarding the sound, it surprisingly evokes the classic power metal of Hammerfall, with vibes of “The End Justifies”, “Wildfire”, and “No Mercy” in the super-fast rhythmic base. For me, as someone who has known Hammerfall for so many years, it is an auditory orgasm to find that Galneryus, the band I listened to the most in 2024, winks at Hammerfall. It’s like, “Oh, double prize!”
As for its structure, it is progressive/syncopated on a 4/4 time signature, kicking off with a spectacular drum roll along with thunderous riffs. And the bass, demolishing everything in its path. The keyboard atmosphere is subtle but effective in unifying all the elements in an ode to musical perfection, which impresses and refreshes. The chorus is fantastic, with the main voice on a high note and harmonic choruses, conveying the feeling of protest and visceral confrontation impregnated in the lyrics. Meanwhile, the masterful alternation of guitar and keyboard solos adds that already characteristic seal of the band, highlighting it above the influences. Then, the sequence of progressive cuts, together with the killer drums and riffs, ends in a dance of mastery full of energy and power, finishing with an abrupt closure.
In short, “Lost In The Darkness” is a fabulous cut that includes classic power metal sounds, along with the potent guitar-keyboard army that solos and gives the “Galneryus seal” to the overall. All this makes the song ideal for any lover of the epic genre. Or for those curious about what would sound like the fusion of neoclassic, epic Japanese power metal with Swedish tinges.
The next stop on this path is “Finally, It Comes!” clocking in at 06:07’. It is an anthem of rebellion and hope against everything that prevents us from achieving our dreams. That “everything” includes social patterns, the “politically correct” and desirable from the point of view of the masses, ill-intentioned criticism, envy, fear, or even the expectations of others. The impetus of the phoenix burns in the heart, soaring until we obtain what we long for, regardless of the barriers. “Finally, It Comes” is a profound message for all of us who feel alone in an ableist world, and don’t fit into the traditions. Also, it is a mantra for those who dream a lot and want to live out of the box, freely, according to one’s terms.
As for the music, it is a dynamic song, which balances its progressive cuts based on rhythm and guitars with a “simple” melody—not that it is easy, but that it is fluid—and a quite catchy and beautiful vocal line. It begins and ends with march-type chorus sounds, maintaining progressive-melodic stability throughout, which is noticeable in the verses. The respective dual guitar and keyboard solo adds a layer of drama and depth, while the enveloping rhythmic base traps you in a kind of powerful spell. The voice invites you to sing at the top of your lungs towards the end of the track, with the emotion at its maximum while the music, led by the killer drums, closes this adventure, ending in a multi-instrumental roll and abrupt closure.
All in all, the prog-melo balance, the catchy vocals, and the thunderous rhythmic bass make “Finally, It Comes” one of my favourites on the album and one of the most lyrically significant, hitting home deeply.
Track 5 is the 08:23-minute single “In Water’s Gaze”, the second longest on the album. The core themes addressed in the lyrics are the search for meaning, identity, and purpose, where Hope is the engine for moving through life and confronting hatred and evil. “In Water’s Gaze” represents the struggle and internal chaos when accepting that everything is dual; light and shadow, good and evil, life and death. The dichotomous always coexist. Thus, the song also implies an invitation to look at the waters of one’s spirit and embrace the being we see, without fear or rejection, but with respect, honor, and love.
Let’s delve now into music. The composition is immersive and cohesive. The attack on the vocal lines is perfectly synchronized with the attack of all the other instruments, which is evident from the first minute. The inclusion of shakuhachi-type flute sounds in the intro infuses the atmosphere with peace, transporting us to rice fields and places full of vegetation where the water runs clean and whose reflection reveals the true image of things.
On the other hand, the bass here takes centre stage in the first verses, adding impact and depth. The pre-chorus maintains the general voice-music synchrony, highlighting its descending scale tonality, which increases the expectation and epic energy, waiting for the subtle and emotional chorus, where the synchrony explodes and captures. Hammerfall-like, epic drum rolls and polyphonic vocal effects unify the choruses and verses.
The bridge in the middle of the cut gives jazzy vibes. It is extremely yet subtly progressive and is followed by Syu’s iconic riffs, unfolding one after another. By the way, these gave me strong vibes of Angra’s “Temple of Shadows”. The last portion of the track flows without surprise. The Hammerfall-like vocal chorus, featured at a slower pace, ends with the guitar soloing, accompanied by the piano, crafting a nostalgic and elegant ambience.
“In Water’s Gaze” is a round track, perfect for a single and perfect for introducing Galneryus to any fan of Neoclassical power metal who dares to leave Europe or the United States to enjoy good metal in the Japanese style—that is, full of mastery, technical perfection, and feeling.
“Heartless” is an 08:00 song, placed sixth. It is a declaration of war against one’s evil, the song of the repentant barbaric warrior who wants to tear out his heart not to feel shame or the weight of his actions. The human heart harbours evil, capable of inflicting pain, and has no mercy. Faced with this, the protagonist falls apart. He does not want to continue holding brutality, hatred, or anything that implies suffering for others.
As a side note, I would dedicate this track to several, including politicians and influencers who do everything to have an audience. Everything, even to destroy others’ self-esteem with poisonous comments/opinions nobody asked for. To all of you, please listen to this song. Maybe you will realize how much pain you have spread and will make up for it.
Musically, “Heartless” brings us to the Galneryus of the beginning, where the impressive speed of the rhythmic base, fused perfectly with the most emotional riffs in history, gave life to a new dimension in power metal. That means, Japan cutting off European heads while exuding passion, speed, and mastery.
The melody-voice combination balances the ensemble, making it magically fluid. By the way, the band’s ability to create authentic masterpieces —musical works of art with a quality akin to precision watchmaking in terms of technique and talent— while keeping the feeling and groove, is impressive.
In vocals, Masatoshi Ono brings a touch of freshness and softness to the whole. I noticed his vibrato has become wider over the years—more Japanese with Gipsy overtones. This creates a poignant contrast with the progressive and fast rhythmic base throughout.
Towards the middle of the track, it turns a bit jazzy, courtesy of the masterful piano that takes centre stage, giving way to the keyboard and rhythmic base in a musical spiral that hits your head hard. Then, the string machine called Syu takes that melodic portion and brings it back to power metal par excellence, with an anthology solo that is undoubtedly among the most impressive ones of 2024.
The voice and piano craft a serene oasis, setting the stage perfectly for the final section, which remains consistent with the overall mood of the piece. As the epic essence unfolds, the technical brilliance shines through, delivering an awe-inspiring display.
There is no low moment in “Heartless”. Instead, everything is majestic and brilliant, turning this song into another of my favourites from the album.
Track 7 is the surprising “Cry For You”, a 07:04 minute-long song. With overtones of a metal ballad, the story talks about the loss of love, repentance and the hope of overcoming the sadness of separation from someone you love.
This cut brought me strong echoes of bands like Vision Divine and Labyrinth, especially for the prominence of the piano, the slower speed, and the guitar with less distortion in the first half, plus a powerful rhythmic base in the background. Ono’s sweet voice adds a lot of romanticism to the ensemble. It feels like a warm breeze on the beach, complemented by the chorus before the end. It is different from the rest, with vocal harmonies accompanying Ono. The cut is closed by a series of spectacular solos, accompanied by pulses of double bass drums that leave you with adrenaline pumping.
“Cry For You” is a beautiful song that combines metal ballad elements with an emotional narrative. The slower pace, soulful piano, and magical guitar work create a nostalgic atmosphere, while Ono’s voice adds a touch of sweetness. The song grows in intensity with powerful solos and a vibrant beat, leaving you with a heart full of emotion and a desire to fall in love…again.
The next track is “Voice in Sadness”, lasting for 06:17. Its lyrics portray the loneliness and sadness of someone paralyzed by fear, pain, and anguish. This hit home deeply. Being autistic, I often experience burnout, paralysis, sensory overload, and the feeling of not being able to verbalize or identify what is happening to me. It’s like being trapped inside a wall, unable to move or process the environment. It is complex and painful, especially because of those who see this as an excuse to “do nothing.” So, in this sense, “Voice In Sadness” puts words to those sensations, expressing a desperate cry for understanding, containment, and listening.
Musically speaking, the influence of Stratovarius is noticeable throughout, both in the melody and keyboard orchestrations, as well as in the rhythmic base and pulse, echoing the classic “Hunting High And Low”. It starts with the guitar in a fade-in that meets the keyboard before the first verse. The voice throughout the track plays with intensity in a soft-powerful-soft pattern, giving stability and elegance to the ensemble. The catchy choruses are full of groove, while the bridges that follow them alternate guitar and keyboard solos. Some guitar chords wink at the Japanese sound, reinforced by the luminous keyboard in the background. The cut ends with the melody in ascending modulation, closing with a great drum roll, killer riffs, and an abrupt ending.
In short, “Voice In Sadness” is a track that remains stable throughout, with a few progressive cuts, making it ideal for lovers of the more classic power metal style of the early 2000s while enjoying Japanese tinges.
The next song is a power metal gem. I’m not going to discuss it. “I Believe” is the longest track on the album, with 11.06 minutes. But that time flies. You don’t even finish enjoying it, and it’s over! This forces you to listen to it on repeat until depleting the last drop of dopamine that your autistic brain can produce.
In turn, the lyrics reflect the stage in life when you no longer depend on the validation of others. There’s no need for a saviour, because your internal fire, your warrior spirit, is inextinguishable and encourages you to achieve your dreams. No matter how hard the challenge might be, and how many people might throw poison to prevent you from being who you want to be, you have yourself, and that is all you need. “I Believe” is a song of liberation, self-love, and hope that stays in your mind like a powerful mantra.
Musically, the song is pretty much classic power metal in general, though with particularities that make it a masterpiece. A cinematic and spectacular intro opens the story, with two following sections whose vibe turns from mystery to emotion. It feels like being at a concert by the Japanese masters just at the moment when everything goes dark, with the music playing in the background, and suddenly the lights explode as Galneryus enters the scene, unleashing all his power.
That is one of my most sensual fantasies, by the way; being in the front row in Japan at a Galneryus concert must be almost a religious experience!
The fast tempo, the overwhelming force of the rhythmic base, the magic of the keyboard that integrates everything, and those killer guitars are the spectacular preamble for the verses. The synchronic voice-melody pattern remains, with progressive cuts in the rhythm as a backdrop.
The chorus goes at full speed and intensity. The vocal performance of maestro Ono, on the other hand, reinforces the power of this section. Humble, straight to the point, and fantastic enough to become one of the best choruses of the band.
The following bridge diversifies the style, from neoclassical power to Judas Priest-like heavy metal, akin to “Breaking The Law”, although the keyboard always unifies and balances the whole. Then, that keyboard plays solos and arpeggios, giving way to the glorious guitar solos, the protagonists of the final third of the track. But honouring the truth, the band as a whole is the protagonist in “I Believe” each member perfectly performs their respective instrument, providing an intense and profound experience.
The music and the voice at the end of the song nod to the intro, “Go Towards The Utopia”, followed by an impressive section, where the guitar, rhythmic bass, and orchestrations display all the power of the neoclassical staccato. This final part brought to mind portions of the classic “Arpeggios From Hell” by the great Yngwie and even the version of Paganini’s Caprice No. 24 that Angra included in the song “Angels Cry.”
In short, “I Believe” is one of the best sound epics by Galneryus, where they demonstrate all their technical and artistic arsenal, full of feeling, groove, and passion that has made them world-renowned as one of the best bands in the genre. Period.
The closing to this wonderful adventure is the 02:39 minute, instrumental song “Life Will Go On”. It honours the neoclassical genre with a heartfelt guitar performance, full of subtlety and elegance. The accompanying orchestration puts the finishing touch, feeling like a deep breath of fresh air after an intense odyssey.
Ultimately, “The Stars Will Light The Way” is an impeccable work, like everything the band has done for almost two decades. Despite the negative comments that accuse Galneryus is not surprising, or that their music is only about virtuosity without emotion, this album is a slap in the face. Songs like “The Reason We Fight”, “I Believe” and the stunning “Cry For You” are examples of the alchemy that Galneryus creates by perfectly combining the virtuosity and technique of neo/prog metal with the feeling and passion of most classic power metal, giving life to one of the best albums of 2024. 10/10 by Elyna
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