Style: shred guitar, power metal (instrumental)
Recommended for fans of: Versailles, Galneryus, X Japan, Unlucky Morpheus
Country: Japan
Release date: 12 June 2024
It’s no secret I love Japanese power metal. Galneryus’s “Angel of Salvation” has been my favorite song nearly as long as I can remember (it was “Octavarium” before that), and that choice is essentially completely because of the guitar heroics of Syu, whose classical techniques and vibrato are unmatched. Yet my opinion is hotly contested with a fierce debate raging between whether or not Syu or Hizaki is the best Japanese shredder. My choice is clear, but can Hizaki close the gap with his newest album, The Zodiac Sign?
Perhaps best known from his work with Versailles as well as Jupiter, Hizaki is a prominent member of the visual kei scene, a Japanese subculture focused on extravagant stage costumes— you’ll likely have noted his dress and makeup on the cover art upon clicking on the review. Performing on several of Japan’s most anthemic power metal tracks, Hizaki’s style and skill have been well-documented for seventeen years at this point, and similar to Syu, his classical bravado and fantastic legatos separate him from mere virtuoso to guitar icon. I deeply enjoy Versailles and Jupiter—especially the blazing, decadent solos of the man of the hour—yet Hizaki’s previous couple solo outings Rosario and Rusalka + Back to Nature have left me a bit cold, still endless streams of insane neoclassical shred but with the aggression and flair dialed down to make them nearly easy-listening; I think The Zodiac Sign, regrettably, is more of the same for solo Hizaki. The guy has all the talent but needs the direction of a band and hooks of a vocalist.
Like other virtuosos in this space—the Plinis, the Polyphias, and the somehow-still-kicking Yngwies of the world—Hizaki is keenly aware of his strengths, rarely venturing far from his comfort zone (blitzing scale runs ending with some neoclassical flair and vibrato). A great trick for the bag certainly, but building a whole song, let alone a whole album, out of similar noodling is nearly impossible to work. Let’s look at Jason Becker’s Perpetual Burn, a shred album that does work, and compare that with The Zodiac Sign. On “Perpetual Burn,” Becker plays more rapid–fire notes in disgustingly looped arpeggios than Hizaki does at any point on his album, yet the melodic buildups and turns-of-phrase utilize a more “precise” songwriting style; the track “pushes” forward with intentionality rather than relying on a floating stream of isolated guitar acrobatics to “flow” forward. This observation, along with the vocal hooks of traditional power metal, is why Hizaki works better in the context of Versailles or Jupiter. A great performer, undoubtedly, but his writing is awkward, and, even more strangely, The Zodiac Sign doesn’t even lean into much excess. Hizaki can easily play around tree3 (that’s a big number reference for all you math nerds) notes-per-second, but 98% of the album is at a fairly pedestrian pace, slipping me more and more into a bored state, especially so considering The Zodiac Sign is fifty-seven minutes of just shred guitar.
At least The Zodiac Sign is produced brilliantly, and Hizaki’s orgasmic guitar tone is as titillating as ever. The violin backings exude cheesiness, but they sound pristine in conjunction with the buttery guitar tone, creating a high-quality sounding project full of flair. The titular closer utilizes the extra violin (courtesy of Jill from Unlucky Morpheus) particularly well with their early solos and dramatic backing for Hizaki’s smooth guitar phrases. Other tracks I find more effective than most include opener “Stella Maris” because of its more aggressive power metal styling and flashy solos, as well as the heaviness assault of “Flame” as a track to change up the mood. Hearing the actual riffs of Hizaki rather than just the solos helps “Flame” really stand out on the album.
Galneryus will always have that special place in my heart as far as Japanese power metal goes, but I can see why some people prefer Hizaki to Syu. The former has impeccable legato and a tastefully smooth style whereas the latter excels at shred that is even slightly chaotic at points. Even though I’m overall let down by The Zodiac Sign, nobody can ever claim Hizaki isn’t a world-class performer. The man is an absolute icon in the power metal and visual kei worlds, and even if I don’t find the songs to be compelling this time around, I still respect Hizaki immensely.
Recommended tracks: Stella Maris, Flame, The Zodiac Sign
You may also like: Jupiter, Syu
Final verdict: 5/10
Related links: Spotify | Official Website | Facebook | Instagram | Metal-Archives page
Label: Zeno Records Japan – Official Website
Hizaki is:
– Hizaki (bass, guitars, keyboards, drum programming)
