Ryujin – Ryujin (Napalm)

Monday, 8th January 2024 By Katarina McGinn

Rating: 8.5/10

The ‘samurai metal’ act Ryujin has actually been around for well over a decade at this point – if you remember the band Gyze. A shred-happy melodic death metal band from Japan, Gyze released four full-length albums with their particular take on the genre merging their native Japanese roots and infusing into a power-metal friendly, frenetic assault. Forging a friendship with Trivium’s Matthew K. Heafy, he became the band’s manager, they changed their name to Ryujin, and subsequently signed to Napalm Records. This self-titled debut is the band’s fifth effort, and certainly the most expansive of their works to date.

More so than any of the Gyze releases, Ryujin takes some steps to further diversify the band and their material. While the core, virtuoso-istic guitar melodies and fiery leadwork is still firmly in place, there’s a greater emphasis to utilizing a broader scope of influences and that helps to push the band further than ever before. “Kunnecup” and “Gekokujo,” to the scribe, sit as the basis of the band’s sound to date. The former really showcasing that power metal tenacity for the guitarwork, offering energy and neo-classical fusion that feels fresh and fun, while the latter goes hard into the melodeath riffing and intensity. What’s new then? For one, while the band has always incorporated more traditional Japanese influences into their sound, they really stand out more effectively on this album. “Dragon, Fly Free” first demonstrates this with a strong folk sense added into their flashy melodic death metal riffage and a soaring chorus that urges a sing-a-long. The songs with Matthew Heafy in the mix offer more of a change-up as well, particularly standout “The Rainbow Song,” which jettisons harsh vocals entirely, shifting more into a glorious, jovial power metal track that oozes positivity while still staying true to the core of the Ryujin sound. Some other highlights include the cover of the Attack on Titan opening song “Guren No Yumiya,” which seems a natural extension of the band’s sound, equipping it with a more massive sense of heaviness and added guitar flair, and the epic melodious vibes of “Saigo No Hoshi,” which appears in both Japanese and English forms (the English sung by Heafy as the album’s closer).

Already well-established as an accomplished guitarist and musician, Ryoji’s latest iteration in Ryujin makes it seem like it’s the right time for his group to take off with more eyes on the Japanese market as of late. Given the larger presence (at least partially due to Heafy and Napalm’s involvement), Ryujin is off to a fantastic start, and should offer a large appeal to fans of the melodeath-driven Gyze before it, as well as those seeking a fresh, Eastern take on the sound with some modern expansions. Either way, Ryujin is a great fresh start for the group, and seems to have plenty of potential for the future if they can continue to find new ways to express that excellent sense of shred and guitar prowess while making it interesting for those intrigued by a more worldly sound.