Matenrou Opera’s album “MUTSU NO HANA” explores chaos, hope, and modern metal

Matenrou Opera, the genre-defying rock band known for blending modern edge with operatic grandeur, has captivated audiences since 2007. Blending the aesthetics of visual kei with the symphonic depth of heavy metal, Matenrou Opera has forged a distinctive sound that leaves a lasting mark on Japan’s music scene and beyond.

With the release of their tenth album, MUTSU NO HANA, on December 18—featuring 13 dynamic tracks—the band showcases their unparalleled craftsmanship and immersive storytelling. We sat down with Matenrou Opera to dive into the making of the album and explore the vision behind their sound.

Congratulations on the release of your latest album, MUTSU NO HANA (六花). Why did you decide to give your album this name, and what is the significance behind it?

Sono: When we were working on the production of Yoake wa yuki to tomo ni (夜明けは雪と共に), we had already decided to release the full album in winter. At that time, the prototype for the song MUTSU NO HANA was also created, which evoked feelings of winter and snow. We then searched for words that convey the essence of winter and snow and arrived at “MUTSU NO HANA”, which means “snowflakes”. One of the reasons is that I was born in a snowy region, and I am adept at creating songs that evoke the feeling of winter.

MUTSU NO HANA has an epic, storytelling feel, especially in its track order and arrangement. Can you share the narrative or themes behind the album?

Sono: I didn’t want the entire album to be monotonous, so I aimed for a grand work with a dramatic structure. The intensity and chaos at the beginning represent reality, and from there, the listeners are gradually immersed deeper into the world of Matenrou Opera, with the intention of rescuing them by the end.

How did you decide on the album’s track order? Did you aim to create a particular journey or progression for listeners?

Sono: As in the previous answer, I arranged the track order with the image of immersing the listener in the world of Matenrou Opera, ultimately leaving them with a sense of positivity by the end.

Some songs on this album are powerful with a feeling of velocity, like Ruthless, while others are profoundly sad and melodic, like Yami wo hamu. Which song feels the most personal to you, and what emotions shaped its creation?

Sono: It’s BLOOD. This is the kind of song I wanted to create when I first tried songwriting.

Yusuke: I have a strong attachment to DYSTOPIA, where we managed to bring together a lot of experimental ideas—like themes from classical pieces and lots of shout choruses—into a cohesive Matenrou Opera song. As a new member, I was very aware of my important role in bringing an unprecedented perspective to the band’s music.

Yo: It’s Incessant Snow. I’ve composed this song by building on three foundational elements: the 8-beat rhythm, the melody, and the bass line. Each band member then added their unique touches, resulting in a track that exceeded my expectations.

Ayame: For both Incessant Snow and Sazanami no Rondo, the lyrics were written first, providing a basis for the synthesizer arrangements. I feel we’ve successfully expanded on the song’s world and brought it to life even more.

Hibiki: From a drummer’s perspective, there’s an intense drumming sequence with three consecutive tracks: BLOOD, DYSTOPIA, and Ruthless.

The album feels highly technical, with a stronger power-metal influence than some of your earlier work. Did you experiment with any new musical elements or techniques in this album that differ from your previous works?

Sono: I challenged myself to blend various genres like visual kei, melodic speed metal, death metal, and hard rock, depending on the song. I’m pleased that we were able to bring all these elements together and express them as the unique sound of Matenrou Opera.

Yusuke: When it comes to composition, I completely agree with Sono. As a guitarist, I focused on taking an inherently guitar-driven approach during the arrangement process. For example, instead of prioritizing whether a phrase is played at a high speed, I emphasized whether the phrase conveys a sense of drive and momentum. Similarly, when aiming for a heavy sound, I concentrated on choosing techniques that convey heaviness, rather than simply choosing phrases based on low pitch.

Yo: From a bass perspective, there weren’t any completely new approaches in this work, but I was able to incorporate fingerings for phrases that I hadn’t managed to pull off before. I think this reflects an improvement in my fundamental skills.

Ayame: I focused on standardizing the synth tones as much as possible to create a cohesive feel across multiple tracks. Along the way, I also discovered some new favorite sounds.

Hibiki: Having fully explored the power metal approach in our previous work and considering the number of fast tracks in this project, I’ve focused on creating clear and straightforward phrases this time around.

Which track from the new album are you most excited to play live, and why?

Sono: I’d love to perform Sazanami no Rondo live. I want to deliver a vocal performance that surpasses the recording.

Yusuke: MUTSU NO HANA. The guitar solo in this song feels really great to play.

Yo: TABOO.

Ayame: Ruthless. I’d love to sing it with the audience.

Hibiki: Ruthless too. The double bass drum is so intense!

Last year Matenrou Opera collaborated in the “Japanese Visual Metal” (JVM) project. How did participating in it influence your perspective as a band or impact your approach to this new album?

Sono: I’ve been greatly influenced by Mana’s music. Touring together has reaffirmed the beauty of aesthetics for me. I believe this influence is strongly reflected in BLOOD and Suigyoku No Waltz.

Yusuke: My new costume this time is the most aesthetic and provocative design I’ve ever worn, so I believe it demands a corresponding level of stage presence. Experiencing the worldviews of the senior bands I toured with during JVM has sharpened my sense of staging, and I feel that this will continue to be a valuable asset moving forward.

Yo: I’m not sure if it directly influenced me, but the Japanese Visual Metal project brought together artists who lean towards the aesthetic and stylistic beauty. It made me rediscover the cool and beautiful aspects of this type of presentation.

Ayame: I’ve had the chance to explore the worlds of many pioneering visual kei bands, and it’s really reaffirmed how beautiful and cool visual kei music is. I’m sure I’ve been influenced by it unconsciously.

Hibiki: Through the JVM tour, I was able to delve deeper into the aesthetic world of visual kei.

How does this new album reflect your journey as a band over the past 17 years? Are there any elements that nod to your earlier work?

Sono: I don’t consciously pay attention to my early works. If anything, I made a conscious effort to ensure that my new work doesn’t end up being similar to my past creations.

Yusuke: As the newest member, having been with the band for three years now, I always respect the world that the band has built from the early days. However, as Sono has mentioned, the 17-year history didn’t serve as a constraint in the creation of this new work. Instead, I feel it stands as a foundation that supports who we are today.

Yo: Ever since the band’s formation, I’ve been thinking about my approach as the bassist for Matenrou Opera, and I believe the fundamental aspects haven’t changed from our early works. With this album, I feel like I’ve been able to play in a way that’s closer to my ideal.

Ayame: We’ve created many albums, and each one is rich in its own world. I feel that this latest work continues that tradition beautifully.

Matenrou Opera has gone through several lineup changes over the years. How has the band’s sound or dynamic evolved as a result?

Sono: The guitar and drums have evolved to embrace a more modern metal sound. As a result, I feel like my own range in composition has expanded as well.

Yusuke : When it comes to guitar playing, I believe I’ve incorporated a lot of modern perspectives. However, since I also love old-school techniques, I take pride in being able to evolve the band’s sound in a balanced and authentic way. At the very least, I can confidently say that the harmonic coherence of our songs and the technical level of our sound engineering have reached their peak with this project.

Yo: With lineup changes, the arrangements and sound creation naturally evolve, so I’ve always aimed to incorporate my own preferences while highlighting the strengths of the other parts. I think the balance we have right now is really great.

Hibiki: It’s not just the band members; our sound engineer has also had a major impact, and I think that’s what’s giving us an even more modern metal sound.

Do you feel that the current lineup is the strongest version of the band to date? What unique qualities does each member bring to the table?

Sono: Our current lineup is the strongest it’s ever been. Yusuke is really responsible yet goofy, laid-back vibe. Hibiki is great at self-management.

Yusuke: Since I don’t know any other lineup, it’s only natural that this one is my favorite. I believe there’s no point in being part of the band unless it’s with these five members. When it comes to creating our work, I always think that our latest project should be our best one yet.

Yo: I approach each project thinking that the latest one should be the best, and I really want it to be that way. Plus, all the members love ramen!

Ayame: As always, I truly believe that our latest work is our best yet.

Hibiki: I approach it with the mindset that our current lineup is the strongest.

What is something you’d like to tell your fans directly?

Sono: I’m really curious about how far Matenrou Opera’s music has reached around the world. Recently, I was thrilled to receive a fan letter from Indonesia.

Yusuke: Thank you all for your continued support. It means a lot to think that our music might be helping you in your lives, and if that’s the case, it makes me happy. But truly, it’s us who are constantly being saved by your support. We hope you’ll continue to cheer for us!

Yo: We have lots of live shows coming up in 2025, so please come if you can! For those overseas who find it difficult to attend, please enjoy our music as much as possible. I hope we can share some video contents that fans abroad can also enjoy.

Ayame: I really want to perform overseas again after so long.

Hibiki: I’m determined to make our 18th-anniversary show a success, so I hope you’ll join us at the open-air venue.

Where do you see the band headed musically in the future?

Sono: I think we’ll continue to incorporate more modern metal elements without changing the core of Matenrou Opera’s music.

Yusuke: To be honest, we only want to do what we love. But at the same time, we’re eager to try new ideas. That’s why I always feel the need to actively embrace new musical concepts out there. By incorporating them, I believe there’s a new frontier for our band sound that we’ve never imagined before, and I want to keep aiming for that.

Yo: I believe we’ll continue to refine our sound without changing the essence of the band.

Ayame: I think the key points of Matenrou Opera are our uniqueness and inability to be easily replicated. I hope we’ll be able to express our individuality even more.

Hibiki: We are proud to represent Japanese Visual Metal.

Do you have any parting words for our readers around the world?

Sono: We are creating a one-of-a-kind music experience in the world. If you find yourself liking our music, please reach out to us. We’ll come visit your country.

Yusuke: As a member of Matenrou Opera, I want to perform overseas. Get to know our music and videos, and please invite us over.

Yo: For those who haven’t heard of Matenrou Opera yet, I encourage you to check out our new music. If you’re already into visual kei, you might know the name “Matenrou Opera”. For those who have heard us in the past, I especially recommend listening to our album MUTSU NO HANA.

Ayame: You can stream our music on various music platforms like Spotify, so please immerse yourself in the world of Matenrou Opera.

Hibiki: I’d be thrilled if you could check out our music and live performance videos first. We’ll keep working hard to perform live overseas, and when we do, we hope you’ll come see us.

Don’t miss MUTSU NO HANA, now streaming on all major platforms, and experience Matenrou Opera’s latest evolution.

The band hits the road next February with their nationwide MUTSU NO HANA: Snowflake tour, spanning 18 shows across 16 cities. Mark your calendars for August 10, 2025, when they celebrate 18 years of groundbreaking music with a special anniversary concert at the iconic Hibiya Open-Air Concert Hall.