Metal Chick of the Month – Haruka Morikawa

A beautiful Japanese nightmare!

As we’re getting closer and closer to the end of another year of pure fuckin’ metal, let’s keep banging our heads nonstop to another extremely talented woman from the underground scene, this time hailing from Japan, or as several people like to call it, the “Land of the Rising Sun”. Easily switching between deep, demonic growls and an angelic, operatic voice, our metal lady of the month of November has been making a strong impact not only on the underground scene in her homeland, but her voice has been echoing all over the world and, therefore, attracting the attention of a wide variety of headbangers worldwide. I’m talking about Haruka Morikawa, also simply known as Haruka, the lead singer for Japanese Melodic/Symphonic Electro Death/Thrash Metal band Heterogeneous Andead, and just by the name of the band and the type of music they play you know you’re in for a treat in our humble tribute to such unique vocalist.

Born and raised in Japan, the skillful Haruka has been the voice of Tokyo’s own Heterogeneous Andead since April 2014, when the band’s current style reached its desired shape and form. However, the band was formed a little before that, though, starting as a project named Andead by founder and multi-instrumentalist Yusuke Kiyama in 2012, changing its name to Heterogeneous Andead in 2013 when they started playing some live concerts. Singing about caustic topics such as sorrow, grief and despair, Heterogeneous Andead have already released one EP and two full-length albums in their career, those being their 2015 debut EP Undead, the 2017 album Deus Ex Machina, and now in 2022 the album Chaotic Fragments, which will be reviewed by The Headbanging Moose sooner than you can say “Japan” and is already available for purchasing HERE. In addition to those, the band was also featured in the compilations Fear Candy 150 (Terrorizer Magazine, 2015), 嘘。(BM Records, 2015), Bad Wish (BM Records, 2015), Halloween – Trick Or Treat (BM Records, 2015), Imperative Music Compilation DVD Vol. 14 (Imperative Music, 2017), and Metal Japan Heavy Chains Vol.5 TieUp ConneXion #2 (Metal Japan Records, 2019).

Heterogeneous Andead have been suffering with several lineup changes lately, with guitarist Sho and bassist Takashi Onitake leaving the band in December 2021 and drummer Tomoyuki Nakano also leaving the band in July this year, which means Yusuke and Haruka are currently searching for a guitarist, a bassist and a drummer to join them in their quest for heavy music. I’m sure they’ll find some talented musicians to be part of the band soon, and until then you can enjoy Haruka’s unique vocals in the official videos for the amazing songs Denied, Automaton and Fission, as well as live recordings of the songs Demise of Reign, Flash of Calamity and Denied live at WildSideTokyo on September 16, 2019, and Unleashed live on February 11, 2017 at Shinjuku Head Power. Furthermore, you can always stream all of the band’s creations on Spotify as well.

An admirer of Classical Music, Jazz, Electronic Pop, Brutal Death Metal and Grindcore, the stunning Haruka doesn’t only mesmerize us all with her mezzo-soprano vocals, singing like an angel, and with her guttural growls and screeches, sounding like a devil, but she also makes sure her looks on stage are in sync with the music being played. According to her bandmate Yusuke, the concept of costumes is basically darkness or gorgeousness influenced by Japanese visual kei, a movement among Japanese musicians that is characterized by the use of varying levels of make-up, elaborate hair styles and flamboyant costumes, often, but not always, coupled with androgynous aesthetics, similar to Western Glam Rock. Simply watch the aforementioned videos of the band, as well as their live performances, and you’ll see the incredible fusion of music and visuals in their creations.

This slideshow requires JavaScript.

Owner of a natural Anime voice (according to the band itself), when asked about how she manages to go from her growls to her mezzo-soprano voice (and back) in seconds without having any sort of vocal issues, Haruka said she has already found the perfect way to switch from one style to another, complementing she has never lost her voice due to that extreme change. In one of her interviews our beloved vocalist said that although she didn’t feel her voice was the most remarkable piece of her identity in the beginning, she now understands and feels the power of her voice as part of her character, saying that it was Yusuke who inspired her to sing both harsh and clean vocals when she first joined the band. It was a challenge for her at first, of course, but Yusuke made sure he adapted part of the band’s style to match with her abilities, resulting in a win-win situation for both him and Haruka as the music by Heterogeneous Andead sounds fantastic nowadays. If you’re in Japan you might be lucky enough to witness them playing live, which occurs only once or twice a month, and despite not filling up big venues yet they certainly have a decent amount of followers that always attend their concerts.

Regarding the metal scene in Japan and how well their unique type of Extreme Metal is accepted in the country, Haruka mentioned during an interview that she can see metal bands having issues playing in countries or regions where the catholic church is very strong, but that’s not a problem in Japan as most of the Japanese population doesn’t follow any religion (or at least they don’t follow it blindly, I might say). What’s interesting is that Haruka is a Protestant Christian herself (and she mentioned only 1% of the country is Christian, by the way), but fortunately music and religion are not connected in any particular way in Japan. She also said that because she follows a Christian way of living she believes she can better express herself when singing with Heterogeneous Andead, externalizing all the sorrow and grief from the lyrics in great fashion.

You can watch a few fun and informative interviews on YouTube with Haruka, who’s by the way a big fan of our beloved monster Godzilla. For example, you can enjoy this nice interview to Antichrist Magazine in 2018 where Haruka and Yusuke talk about their previous album Deus Ex Machina; and this one to the Argentinian webzine Territorio Rock, also in 2018. And last but not least, anytime you watch a live performance by Haruka with Heterogeneous Andead you’ll certainly notice her movements are very theatrical, adding an extra touch of finesse to the overall result. The reason for that is that not only Haruka was part of plays and musicals when she was a student, but she also practiced Aikido, a modern Japanese martial art that is split into many different styles, during her childhood, allowing her to improve the visual effects of her personal performance while singing at the same time. In other words, don’t mess with Haruka or you’ll get your ass kicked, got it? Simply relax and enjoy her unique vocals to the fullest, proving how much Japan is and will always be one of the most creative countries in the world when the music in question is Heavy Metal.

Haruka Morikawa’s Official Twitter
Heterogeneous Andead’s Official Facebook page
Heterogeneous Andead’s Official YouTube channel
Heterogeneous Andead’s Official Twitter

Album Review – Abigail / The Final Damnation (2016)

Delivering chaos, sex and blasphemy for over 20 years, one of the most prominent bands from the underground Japanese scene strikes back with more of their libertine and devilish music.

Rating4

abigail-the-final-damnation-coverWhenever the name “Abigail” is enunciated, your mind probably takes you to Denmark, home of one of the most iconic metallers of all time, the one and only King Diamond. However, if you travel further east, more specifically to Japan, the Land of the Rising Sun, you’ll face a high-octane fusion of Black, Thrash and Heavy Metal from the 80’s with a libidinous twist through the music by an uncompromising power trio known as Abigail, who have recently released their fifth studio album, titled The Final Damnation, highly recommended for fans of bands like Venom, Bulldozer and Carnivore who also nurture a profound admiration for topics such as war, alcohol, partying, depravity and bitches.

Abigail, who have dubbed themselves as “The Most Evil Band in Japan”, was formed in 1992 in the city of Tokyo, Japan by Yasuyuki Suzuki, a talented multi-instrumentalist and one of the most important names in the underground extreme music scene in Japan, having played with bands such as Cut Throat, Barbatos, Tiger Junkies and the iconic Sigh, from our beloved metal chick Dr. Mikannibal. Their musicality might have shifted a bit from their earliest raw Black Metal to a more complex degree of Speed Metal mixed with Street Punk (a mixture classified by the band as “Street Metal”), also increasing the level of debauchery and blasphemy in their lyrics. With The Final Damnation, which features an obscure artwork by French artist Christophe Moyen, the band has considerably increased the dosage of Black Metal in their music, going back to their roots without losing their current thrashy attitude and electricity.

abigail-band-promoFrantic guitars and drums with a strong melody supporting them set the tone for the berserk title-track The Final Damnation, before Yasuyuki begins firing his inebriate gnarls. In essence, it’s music to drink and fight, exactly what the band wants you to do, boosted by all old school guitar solos Noboru “Jero” Sakuma delivers throughout the whole song. Blasphemy Night is insanity in the form of music, a bestial marriage between Black and Thrash Metal with nuances of Hardcore and Punk Rock where Yasuyuki sounds truly demonic on vocals while drummer Youhei shows no mercy for mankind, obviously commanding us all to slam into the fuckin’ pit, followed by a massacre titled Whisky Coke and Bitch. I guess nothing needs to be said about the name of the song, right? Anyway, Jero continues delivering his traditional solos in this less obscure chant, strongly inspired by the rebellious Punk Rock played by bands such as The Exploited and Black Flag.

In spite of its slower-than-usual start, the deranged composition Sex & Metal (another song with a “cute” name) is sheer devastation throughout its almost 6 minutes, with Yasuyuki and his henchmen smashing everyone who dares to cross their path, also exhibiting more of their insane high-speed guitar solos. And the gates are opened by Abigail’s infernal composition straightforwardly named Open the Gates of Hell, displaying a sonority highly inspired by Thrash Metal from the 80’s with an eccentric Japanese touch. In addition, the bass guitar by Yasuyuki sounds amazingly brutal in this hurricane of disturbing metal. Blazing guitar lines ignite the thrashy composition No Pain! No Limit!, showcasing backing vocals a la traditional Punk Rock while Youhei delivers precisely what we all want in this type of music by pounding his drums like a wild beast during the entire song.

The pulverizing hymn Sweet Baby Metal Sluts doesn’t only have another gentle name, but the screeching gnarls by Yasuyuki will torment your mind while the band keeps discharging their libidinous music through your ears, with Jero continuing his feast of demented solos. And closing the album, how about 7 minutes of total anarchy? That’s what you’ll get in Holocaust by Evil with its Slayer-like guitars and extreme aggressiveness. Youhei pays his personal tribute to Thrash and Black Metal, and although there’s a melodic break influenced by traditional Heavy Metal after around two minutes, Abigail had to obviously finish off the album like a steamroller from hell with their lunatic musicality. Before all is said and done, Yasuyuki fires some final grasps from the depths of hell to give the whole song a more macabre touch.

As aforementioned, if you truly consider Heavy Metal, sex, alcohol and blasphemy as the most important things in your life (and you should), the music by Abigail will definitely be the perfect soundtrack for your metallic and carnal adventures. And in case you want to show your support for those Japanese metallers, go grab your copy of The Final Damnation at the Nuclear War Now! Productions’ BandCamp or at their webstore as a CDa regular LP or as a “die hard” LP, or at Abigail’s official webstore. Abigail have been on fire since their inception almost 20 years ago, and The Final Damnation is just another proof this defiant troop from Tokyo is far from calling it a day.

Best moments of the album: Blasphemy Night, Sex & Metal and Open the Gates of Hell.

Worst moments of the album: None.

Released in 2016 Nuclear War Now! Productions

Track listing
1. The Final Damnation 4:32
2. Blasphemy Night 3:55
3. Whisky Coke and Bitch 4:50
4. Sex & Metal 5:50
5. Open the Gates of Hell 3:57
6. No Pain! No Limit! 3:04
7. Sweet Baby Metal Sluts 3:22
8. Holocaust by Evil 7:08

Band members
Yasuyuki Suzuki – vocals, bass
Noboru “Jero” Sakuma – guitars
Youhei – drums