Album/EP

SABLE HILLS - ODYSSEY (ALBUM REVIEW)

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Heavy Metal Wordsmith

Jul 18, 2024

7 min read

SABLE HILLS – ODYSSEY
Released: July 19, 2024

Lineup

Takuya Mishima // Vocals
Rict Mishima // Guitar
Wataru Yuasa // Guitar/Vocals
UEDA // Bass
Keita Kondo // Drums

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Sable Hills may be relatively unknown to audiences outside of Japan, but this young metalcore band are making moves. From tearing up Wacken in 2021 and 2022, to a recent signing to European label Arising Empire, the proclaimed Tokyo Riff Lords are a force to be reckoned with.

Their latest album Odyssey is the band’s first release with their new label and upon first listen, it is easy to see how Sable Hills have garnered such a following. From the guitar solo-driven intro ‘The Eve’ and straight into the title track, it is evident that ‘Tokyo Riff Lords’ is not just a catchy tagline. ‘Odyssey’ is anthemic. It has that fast-paced riffage that gives you that takes you right back to that classic metalcore sound. Vocalist Takuya Mishima snarls through the verses and you cannot help but groove along. Hitting the ear nicely before dropping you into a mini-breakdown, it flows so effortlessly into a full-bodied chorus. Showing off with a shredding guitar solo before finishing with a nasty, short but sweet breakdown- they pulled out all the stops right from the start.

As ‘Misfortune’ kicks in, if you were not convinced of the skill of both guitarists Rict Mishima and Wataru Yuasa, then we are not listening to the same record. Licks upon licks, riffs upon riffs, this 2-minute 40-second wonder does play a role in filling the gaps between two of the stronger singles.

While it is a fun little filler, it just merely warms the stage for the upcoming ‘Battle Cry‘. Featuring Kenta Koie, frontman of pioneering Japanese metalcore band Crossfaith, this song is formidable. Wataru shines as a clean vocalist, offering listeners a moment to sing along on the choruses as Takuya’s aggressive verses give it the bite it needs. Often overshadowed by the skill of the guitarists, the rhythm section here has its moments to shine. Drummer Keita Kondo and bass player Ueda are standout musicians in their own right and ‘Battle Cry’ gives them their platform. The feature from Koie is not lost in the fray either, taking centre stage and pushing it to another level- it presents as a true collaboration.

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Much of the themes of this album seem to be centred around staking a claim and moving forward, which was present from when the first single ‘A New Chapter‘ was released back last August. Proving that they truly believed in establishing themselves going forward with this song. Being almost a year old now, it surprisingly has not lost its freshness. A fist-pumping chorus- it is one of those tunes that you cannot help but be hyped when listening to. Fading out with a barrage of sound, it blends seamlessly into what was the final single released, ‘Anthem’.

Now the only disappointment I have with this song is that it should have been dropped with a proper music video the same day as the album was released. Being the fifth single dropped, it felt lost and overshadowed by ‘Battle Cry‘- which is a shame because personally, this is my favourite track on the album. As a longtime follower of Sable Hills and a metalcore enthusiast, ‘Anthem‘ hits all the right notes. Catchy as hell riffs, the vocal dynamics between Takuya and Wataru, it dips towards the classic euro-metal sound that many modern metalcore acts are starting to distance themselves from.

This is fitting, as next on the album is ‘Carry The Torch’ and it feels this is exactly what this band is doing- bringing metalcore back to its roots. A solid, straight-up heavy intro ladden with guitar squeals, it has a very obvious Unearth, Killswitch Engage inspiration to it. Hitting with a lot of promise at the start, the song does fall back into that Sable Hills comfortable flow. Not necessarily a negative, but if you are looking for twists and turns, then you won’t really find it- at least not yet.

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Speaking of Unearth though, the feature on ‘No Turning Back‘ from Trevor Phipps ensured that this one would have to be a single. Slipping in nicely with the two vocalists’ styles, the three-minute banger is tailor-made for a live audience. Fast and furious guitars and one of the nastiest breakdowns on the record make for the ultimate backdrop for Phipp‘s iconic voice. ‘Bad King’ also sounds as if it is written with a live audience in mind. Keita’s drumming is the soul of this track, providing the canvas for everybody else to shine. Finally hitting us with a few more sickening ‘bleurgh’s, you can visualise the mayhem that will happen in the pit when they play this live.

As I started to relax into the rhythm of the album, not expecting to be surprised by much more and accepting my fate, I was hit with the ‘Forever’ interlude. As a band that showcases their guitarists extensively, interworking their sound with a shamisen was a surprising palette cleanser. The one-minute traditional Japanese sonic experience provides the ultimate segue for the album’s final offering, ‘Tokyo’.

‘Tokyo’ is the soundtrack to the end of a journey. It is a sonic representation of realisation. It is bright without compromising on its aggression. Like a victory lap for this young band once again dropping an impressive album. Throwback to the previous interlude, reminding us that Sable Hills is part of the constituent that is leading the future of Japanese metalcore.

At times, this album felt a little like a movie where the best parts were spoilt by the ads. Releasing five singles over 11 months felt like a little overkill, so by the time it dropped, there wasn’t much left to share. Despite this, I still feel as if I was taken on a journey. Sable Hills Odyssey is a brilliant example of a young band starting to own their style and become confident in their delivery.