Versailles - A Noble was Born in Chaos

Versailles must be one of the most prolific of the younger bands in the visual kei scene. Within a year and a half, they will have put out two singles and a mini album, plus a new full album. Within their short existence they've also already toured Europe, and most recently America, where they promoted the single A Noble was Born in Chaos. Since it must have been made somewhat precipitously, fans may wonder if the single can live up to expectations set by their previous releases. Rest assured, the band's trademark exquisite guitars and powerful sound that mixes orchestral elegance and diabolical aggressiveness in a perfect blend is fully present in this latest single.

The album takes off with a track that's certainly worthy of the opening position. Aristocrat's Symphony begins with a very classic, orchestral sound but segues into a power metal style when the beat speeds up, showcasing YUKI's athletic drumming. The violins continue throughout the song, lending it a consistent symphonic air that melds seamlessly with the heavier rock influences. Early in the first verse, a flourish of harp notes accompanies the entrance of KAMIJO's voice, which flows regally over the music in contrast to the business of the guitars and drums. In general, the rhythm changes frequently, and KAMIJO's vocals are the glue that gives the track its sense of uniformity. The instrumental bridge is nothing less than enthralling as HIZAKI and TERU deliver a guitar solo epic even for Versailles. This is followed by a quiet reprieve of piano and vocals before the intensity picks up again, and towards the song's conclusion we are treated to another stunning show of guitar play.

SUZERAIN is a fast and heavy number that tones down the symphonic elements while pumping up the band's metal side. The instruments in the refrain are driven and busy, but KAMIJO's melody line transcends the well orchestrated chaos and carries the listener along with it. The guitars in the bridge are once again phenomenal and particularly zany in this track. Their solo is followed by a moment where Jasmine You's bass is underscored with the vocals. But the best part of the track may be the lead-in to the chorus: the rhythm becomes erratic and is accompanied by shouted death vocals. The magic in that segment is produced by the intriguing contrast between the low, demonic vocals and KAMIJO's usual melodic sound, and the disparity is reinforced in the hostile, choppy rhythm so different from the rest of the song's rapid current.

Track three is the album's most exciting number because it's such a departure from the band's usual sound, and to date Zombie is quite possibly the best heavy rock number Versailles has put out. The low death vocals from the previous track are even more hellish here, improved by the addition of growled screams and menacing whispers. These are accompanied by suitably erratic and heavy beats, very different from the band's usual rhythm. The opening guitar sets the mood for the whole number and exhibits a carnivalesque revelry in the morbid and spooky, like the atmosphere at a haunted house. Though Versailles often turns to images of death to express themselves, this carnival feel is a twist that makes the song stand out from the rest of their work. It's not the aristocratic vampire imagery that shines through the most in this number, but the concept of phantoms in the dark straight out of a child's nightmare, especially during the growled vocals that say, "Come here! Come here! Right now!"

The refrain and its lead-in emphasize Jasmine's bass and the band's more classical side, but compared to the rest of the track, the chorus is a little less interesting. Though it propagates a great sense of grandeur, the ominous feeling is diminished there. The song might have been even more exciting if the same sinister intensity had been maintained throughout. That's only in terms of the music of course; the lyrics are consistently creepy as they describe dead boys involved in a dark ritual that requires the collecting and burning of bones. The outcome of the ritual is murky, but with the repeated English word "Raise!" and the title, perhaps the object is to raise a zombie. In any event, it's a truly creative track in every way.

Overall, A Noble was Born in Chaos not only meets the very high expectations set by the previous works of Versailles, it also surpasses them. For fans of the traditional Versailles sound, Aristocrat's Symphony sums up all that the band is about, and SUZERAIN showcases their well-received fast, driven style. On the other hand, Zombie feels revolutionary and will certainly please fans who wonder how Versailles might take their sound in an unusual direction. Each is a hit in its own right, and highlights the enormous talents of the different members who composed them. We look forward to the upcoming album from this phenomenal band who impresses us more and more with each release.