{"id":95128,"date":"2025-09-02T16:08:39","date_gmt":"2025-09-02T15:08:39","guid":{"rendered":"https:\/\/avo-magazine.com\/?p=95128"},"modified":"2025-09-04T10:34:08","modified_gmt":"2025-09-04T09:34:08","slug":"music-video-review-matenrou-opera-agony","status":"publish","type":"post","link":"https:\/\/avo-magazine.com\/en\/2025\/09\/music-video-review-matenrou-opera-agony\/","title":{"rendered":"Music (Video) Review: \u6469\u5929\u697c\u30aa\u30da\u30e9 (Matenrou Opera) \u2013 AGONY"},"content":{"rendered":"<p>If you\u2019re a little bit \u2018into\u2019 the visual kei genre, you\u2019ve probably heard the name \u6469\u5929\u697c\u30aa\u30da\u30e9 (Matenrou Opera) before. Existing out of \u82d1 (Sono) on vocals, \u512a\u4ecb (Yusuke) on guitar, \u5f69\u96e8 (Ayame) as a keyboardist and programmer, \u8000 (Yo) on bass and \u97ff (Hibiki) on drums, the band can be filed under the loud kei and tanbi kei subgenres of visual kei, but they also make use of a symphonic metal sound in their works. <!--more--><\/p>\n<p>The band recently celebrated their 18th anniversary at Hibiya Open Air Concert Hall on August 10, unfortunately without guitarist Yusuke, who was undergoing treatment for a fractured arm sustained in late July. Luckily, the preparations for the band\u2019s latest single <em>AGONY<\/em> were already completed, which means he does appear in full on the single and in the music video.<\/p>\n<h3>Ah, let\u2019s continue to be covered in the world\u2019s desires<\/h3>\n<p>When I see a music video, my main question is \u2018how much do the visuals convey the story of the lyrics?\u2019, and more often than not, this is a very difficult subject. Since a lot of lyrics are often describing an \u2018emotional state\u2019 rather than a \u2018movement\u2019 or an \u2018action\u2019. <em>AGONY<\/em> is no different in this scenario. As the name implies, the lyrics express a feeling of \u2018agony\u2019 and Sono has written them in a rather poetic style, as is more or less customary for him at this point. The lyrics hint at losing the will to move forward, covered in the world\u2019s desires and the flood of voices echoing in the narrator&#8217;s head, sinking into the unwavering depths. So, \u2018heavy stuff\u2019 without being too detailed about it.<\/p>\n<p>The style of the song is also more focused on the metal aspect, which is also more Sono\u2019s style of composing. (The other song on the single, <em>Another Christmas<\/em> has a lot more keyboard in it, and has been composed by Ayame instead.) However, a new instrument is introduced in the introduction: a cello, played by \u77f3\u4e95\u667a\u5927 (<a href=\"https:\/\/www.tomohiroishii.com\/\" target=\"_blank\" rel=\"noopener\">Tomohiro Ishii<\/a>), adding an eerie vibe to the already more monotone vocals from Sono.<\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"\u6469\u5929\u697c\u30aa\u30da\u30e9 \/ AGONY\u3010Music Video\u3011\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HaZMplIdAh4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>The music video itself opens with some drone like (although it\u2019s more than likely done digitally, honestly) shots of some castle ruins, accompanied by the slow cello melody and more monotone vocals while Sono makes his way through a narrow hallway or corridor until the rest of the band joins in.<\/p>\n<p>Since it\u2019s quite hard to make a visual story with these lyrics, the music video mainly focuses on which member is taking centre stage with their instrument throughout, so during Ayame\u2019s keyboard solo, Yusuke\u2019s guitar solo the focus is mainly on them individually, followed by shots of Hibiki as his drums move towards the front. The same can be said for Yo when his sound is a little more prominent in the mix, since he doesn\u2019t have a solo moment in this song. You\u2019ll also see shots of the members in the same area as we saw Sono in the beginning, but their moments in front of the mirror are largely a \u2018blink and you\u2019ve missed it\u2019-type of shot.<\/p>\n<p>In conclusion, did Matenrou Opera completely miss the mark with their latest music video? No. Like mentioned earlier, it\u2019s often extremely difficult to create a story-driven music video on lyrics that describe an emotional state, and <em>AGONY<\/em> is no different in that regard. What they did do is show us, the audience, what they\u2019re good at. And that\u2019s creating catchy rhythms combined with Sono\u2019s high vocal style. Which means that if you\u2019ve enjoyed their recent work, you\u2019ll probably enjoy <em>AGONY<\/em> as well. It\u2019s not completely new style wise, but it\u2019s a slow evolution of the style that they\u2019ve been slowly growing into. Similar to, but also evolving from, their latest full album \u516d\u82b1 (<em>Mutsu no Hana<\/em>).<\/p>\n<hr \/>\n<p>For AVO Magazine we took a deeper dive into the music video for <em>AGONY<\/em>, but if you\u2019d like to read more about the single as a whole, you can do so on my project, <a href=\"https:\/\/www.arlequin-magazine.com\/en\/2025\/08\/matenrou-opera-agony-a-flood-of-voices-echoes-in-my-head\/\" target=\"_blank\" rel=\"noopener\">Arlequin Magazine<\/a>. And before you ask: yes, I am that \u96ea (Yuki), but due to a name conflict with Munch Munchies\u2019 Yuki here at AVO Magazine, I\u2019m using the name \u5922 (Yume) instead.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>If you\u2019re a little bit \u2018into\u2019 the visual kei genre, you\u2019ve probably heard the name \u6469\u5929\u697c\u30aa\u30da\u30e9 (Matenrou Opera) before. Existing out of \u82d1 (Sono) on vocals, \u512a\u4ecb (Yusuke) on guitar, \u5f69\u96e8 (Ayame) as a keyboardist and programmer, \u8000 (Yo) on bass and \u97ff (Hibiki) on drums, the band can be filed under the loud kei [&hellip;]<\/p>\n","protected":false},"author":78,"featured_media":95145,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":{"format":"standard","override":[{"template":"2","parallax":"1","fullscreen":"1","layout":"right-sidebar","sidebar":"default-sidebar","second_sidebar":"default-sidebar","sticky_sidebar":"1","share_position":"floatbottom","share_float_style":"share-monocrhome","show_featured":"1","show_post_meta":"1","show_post_author":"1","show_post_author_image":"1","show_post_date":"1","post_date_format":"default","post_date_format_custom":"Y\/m\/d","show_post_category":"1","show_post_reading_time":"1","post_reading_time_wpm":"300","post_calculate_word_method":"str_word_count","show_zoom_button":"1","zoom_button_out_step":"2","zoom_button_in_step":"3","show_post_tag":"1","show_prev_next_post":"1","show_popup_post":"1","number_popup_post":"1","show_author_box":"1","show_post_related":"1","show_inline_post_related":"0"}],"image_override":[{"single_post_thumbnail_size":"no-crop","single_post_gallery_size":"crop-715"}],"trending_post_position":"meta","trending_post_label":"Trending","sponsored_post_label":"Sponsored by","disable_ad":"0","subtitle":""},"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":{"view_counter_number":"0","share_counter_number":"0","like_counter_number":"0","dislike_counter_number":"0"},"footnotes":""},"categories":[3073],"tags":[9366,5806,6881,4204],"class_list":["post-95128","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-reviews","tag-matenrou-opera","tag-metal-en","tag-symphonic-metal","tag-visual-kei-en"],"_links":{"self":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts\/95128","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/users\/78"}],"replies":[{"embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/comments?post=95128"}],"version-history":[{"count":7,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts\/95128\/revisions"}],"predecessor-version":[{"id":95173,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/posts\/95128\/revisions\/95173"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/media\/95145"}],"wp:attachment":[{"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/media?parent=95128"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/categories?post=95128"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/avo-magazine.com\/en\/wp-json\/wp\/v2\/tags?post=95128"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}