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KITSUNE NO YOMEIRI

Crossover Prog • Japan


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Kitsune No Yomeiri picture
Kitsune No Yomeiri biography
KITSUNE NO YOMEIRI (a fox bride in English) have been founded in 2006 by the frontman MADONASHI in Kyoto. Lots of gigs have been done around Kyoto and in 2009 they've been reformed as a sextet, based upon acoustic instruments and cynical lyrics. The current lineup is: MADONASHI (voices, acoustic guitar), HISAYO (keyboard, backing voices), Ken'ichi SARUTA (bass), KAGI (drums, percussion), Akane MATSUBARA (trumpet, backing voices), and ZAKKIE (electric guitar).

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Buy KITSUNE NO YOMEIRI Music


Kitsune No Yomeiri - Shinitakunai [Japan CD] PCD-18752Kitsune No Yomeiri - Shinitakunai [Japan CD] PCD-18752
Indies Japan
Audio CD$28.25
$12.50 (used)

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KITSUNE NO YOMEIRI discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

KITSUNE NO YOMEIRI top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Itsumo Doori No Sekai No Owari
2009
0.00 | 0 ratings
Fukan Seyo, Getsuyobi
2012
4.00 | 1 ratings
Shinitakunai
2013

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KITSUNE NO YOMEIRI Reviews


Showing last 10 reviews only
 Shinitakunai by KITSUNE NO YOMEIRI album cover Studio Album, 2013
4.00 | 1 ratings

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Shinitakunai
Kitsune No Yomeiri Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

— First review of this album —
4 stars A sophisticated antipop, let me call them.

KITSUNE NO YOMEIRI (a fox bride in English), whom I've stumbled across in a gig, have fermented another mysterious atmosphere among the stage and the audience. They have been founded in 2006 by the frontman MADONASHI in Kyoto. Lots of gigs have been done around Kyoto and in 2009 they've been reformed as a sextet, based upon acoustic instruments and cynical lyrics. This album "Shinitakunai (Don't want to die)" has been released as their third full-length studio-recorded album in 2013 via a Japanese independent label P-Vine. Pretty dominated via their deliberate sound visions and philosophical lyrics.

Overall via the creation, their musical attitude sounds of strongly intensive antitheses against popularity. Madonashi's lyrics and voices are cold-hearted, dispassionate, and sharp-edged, as if he would laugh quietly at the real world full of inorganic, unfeeling, inhuman atmosphere. But contrary to his distinctive messages, Hisayo's gentle, hearty keyboard works relieve us anyhow. Listen to her solo scene "Ao-Tenjo (Under The Blue Sky)", where brilliant keyboard phrases launch colourful rays of elixir ... this moment should give us momentary "safe and sound".

In the second track "Yagi Wa Shikeidai Ni Noboranai (A Goat Would Never Go To The Scaffold)", the masterpiece in this album (and a song I've listened to on stage), is another package flooded with their remarkable intention and constructive criticism for contemporary music around them.Theatrical alterations step by step can be heard like a movie, with ultrarhythmic drumming / bass blows and somber, vague female chorus. Madonashi's voice tempos are not refined as rap music (obviously) but it's mysterious we get immersed in his roughly antirhythmic space at the same time. Not familiar with such a soundscape until then actually.

Afraid they could not be thought as an "authentic" progressive rock project, but who has listened to such a mystic, tough-to-categorize musical criticality? If anything, let me call them a poetic innovation.

Thanks to dAmOxT7942 for the artist addition.

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