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Kitsune No Yomeiri

Crossover Prog

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Kitsune No Yomeiri Shinitakunai album cover
4.00 | 1 ratings | 1 reviews | 0% 5 stars

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Studio Album, released in 2013

Songs / Tracks Listing

1. Tomonawanai, Zettai.
2. Yagi Wa Shikeidai Ni Noboranai.
3. B.G.M
4. Shinitakunai
5. Garando
6. Aotenjo
7. Kienai Kage
8. Hobutsusen
9. Since 1970
10. Hiai No Shigoto
11. Kiyasume

Line-up / Musicians

- Madonashi / voices, acoustic guitar
- Hisayo / keyboard, backing voices
- Ken'ichi Saruta / bass
- Kagi / drums, percussion
- Zakkie / electric guitar

Releases information

CD P-Vine Records PCD18752 (2013)

Thanks to damoxt7942 for the addition
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KITSUNE NO YOMEIRI Shinitakunai ratings distribution

(1 ratings)
Essential: a masterpiece of progressive rock music(0%)
Excellent addition to any prog rock music collection(100%)
Good, but non-essential (0%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

KITSUNE NO YOMEIRI Shinitakunai reviews

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Collaborators/Experts Reviews

Review by DamoXt7942
FORUM & SITE ADMIN GROUP Avant, Crossover & Neo Teams
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.

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