It can be found in hard-charging songs such as “Rising.” miyako and midori conclude their guitar battle with a dual guitar section that is so passionate that it is reminiscent of the piano sonatas of Alexander Glazunov, which are the apotheosis of Russian Romanticism.
miyako’s inclination to lush romanticism goes beyond LOVEBITES ballads or slow sections. Her stunningly beautiful solo in “Break The Wall” could be put in a time machine, then sent back to Pyotr Tchaikovsky to be incorporated into his “Nocturne in D Minor” without changing a single note. miyako writes crunchy riffs that are clearly rooted in the rhythmic world of heavy metal. Miyako’s compositions are, above all, true songs, with a firm foundation of melody. These little things add complexity to the playing, but, more importantly, they make the riffs, and the songs, more interesting. Even a fairly simple opening guitar part such as that of “Empty Daydream” adds a descending quad prior to resolution. But the riff changes shape, increasing in complexity before asami begins to sing. Then there are songs like “Mastermind 01,” which jumps right into a crunchy guitar riff. These martial openings function as a military call to arms before the songs explode into the main theme. “Rising,” “Shadowmaker” and other songs begin with a dual guitar introduction. Miyako uses a number of strategies to create a multi-colored sonic palette. It may appear that the songs follow the same model of introductory riff, verse, chorus, verse chorus, solo, bridge, conclusion. She varies the structures of her songs so that they never seem formulaic.
「2」 miyako is a master of heavy metal compositional design.
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The three composers display profound craftsmanship and an awareness of how to truly arouse their listeners. The audience in all three cases derives enormous pleasure from the sensation of being surprised by the ever-evolving changes of mood. The composers – Mozart, Hiromi, and miyako – tease the listener with intriguing thematic material. But the exciting opening themes are merely a prelude for the glorious pandemonium that will soon erupt. Each of the three began in a compelling manner. The rippling, but volcanic, stream of notes that emanates from the compositions of LOVEBITES guitarist miyako is part of a musical tradition that runs from the Overture to Mozart’s Le Nozze di Figaro through Hiromi’s jazz burner “In A Trance” all the way to miyako’s own “When Destinies Align.”īefore you say that that is a crazy statement to make, think about the structure of those three pieces of music.
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