Japan is a treasure trove of unique musical artists who defy convention and incredible musical bravery, not allowing genre labels to define who they are. Here at DR, Katarina explores many fine acts who exemplify this, and my senses are absolutely aligned, though her knowledge is beyond mine in the burgeoning Japanese scene. Nevertheless, there are a number of acts whom these ears have been following for quite some time, hoping they eventually get their well-earned due plaudits. Near the top of that list are Tokyo’s Serenity in Murder, who melted my brain with their furious The First Frisson of the World in 2011, holding our devout attention and esteem ever since.
When original vocalist Emi departed soon after the band’s third record – an immense effort in The Eclipse – we admittedly feared the worst. However, successor Ayumu proved on 2021’s Reborn that she was more than up to the task, putting a definitive stamp on the band’s searing, symphonic, melodious black/death amalgamations that took them to another level of sonic achievement. Since, the band wisely joined forces with German-based Apostasy Records, followed by a trickle of singles, including a robust re-recording of “Infact Bellum” from their previously mentioned debut record, as well as a few tracks that would make their way onto their eagerly anticipated fifth full-length, and today’s primary subject, Timeless Reverie.
Serenity in Murder waste zero time (pun intended) in unleashing a serotonin rush of enormous riffs and grandiose symphonics via “God Forsaken” – a track that encapsulates everything that the band is about in a compact, furious package. Vocalist Ayumu’s snarls and roars emit intense dynamism of which are wholly unique, continuing to give the five-piece a defining characteristic that few other acts of their ilk possess. “Matrix” keeps the momentum moving ever forward; highlighted by guitarist Freddy’s soaring clean vocalisations amongst scorching guitar duels alongside his axe-wielding partner Ryuji. Spoken word passages and choirs add to the synth-driven, high-energy “Blue Roses Gracefully Fall” – the solo leading into that bombastic conclusion is inspiring – whereas pieces like “Never Defiled” delve deeply into their melodic death roots by way of a typhoon of guitar harmonies and crunchy riffage.
Giving a slightly differing purview is “A Dance of Sorrow,” driven by lush keys awash with memorable guitars and the thumping rhythm section of bassist Yu-ri and drummer Allen. A very Eternal Tears of Sorrow-esque composition, focusing on gobs of downtrodden melody and a mid-paced tempo that serves the song and the album well. “The Flames Ablaze” emits plenty of focused guitar work and a certain admirable swagger ala very early Children of Bodom without mimicking the legendary Finns. Notable is a re-recording of what’s this writer’s favorite Serenity in Murder track – “Noticed This Is the Betrayal” from their 2015 sophomore album The Highest of Dystopia – that serves as a fitting and well-executed revision, allowing Ayumu to put her own signature on what’s an undeniably infectious composition. This track is sandwiched between two beautiful instrumentals to close proceedings; “Past: Timeless Reverie” and “Hope: Timeless Reverie.” The latter sticks out the most; a soothing, hopeful entry that ties together the album in an unexpected, but no less apt fashion.
To anyone who has been in the Serenity in Murder supporters club for as long as we have, it’s perplexing how a band with such nailed-on songwriting prowess and easily alluring sound profile hasn’t gotten more attention. We hope the association with Apostasy pays off in more ears being turned towards a band that have long since earned their place at the top of the heap of melodeath-adjacent artists, with a seemingly unlimited knack for creating virulent, enduring music. Timeless Reverie is a fantastical record by a band who have again exceeded expectations, traversing their own path with gusto. There’s no band who quite sound like Serenity in Murder, and after all these years, we’re overjoyed that they’re still pushing the boundaries of their chosen approach.
We’ll end on a little anecdote – the wife and I almost caught them live in Japan back in 2016, but they played shows that were a day before we arrived and the night of our departure – a miss that still stings to this day. Here’s to hoping Serenity in Murder keeps going for some time, as they’ve got plenty yet to offer, and selfishly, there will be no serenity in this writer’s brain until we see this magnificent band in a live setting. For now, Timeless Reverie beyond satisfies; an album that we surmise will be in heavy consideration for accolades once we get towards that thing known as year end.