Review by Lawrence Stillman on August 11, 2024.

Thousand Eyes is a melodeath band from Tokyo, Japan, and is actually the successor of a Touhou cover band named Thousand Leaves. Both bands play an identical style of melodeath that does not deviate too much from the Gothenburg formula, but they did add one thing that makes them what I think melodeath should be in its default state, and that is less emphasis on melody. If Intestine Baalism is a NWOBHM/Suffocation-inspired melodeath band, then Thousand Eyes is a thrash metal-inspired melodeath band, since At The Gates has a similar approach, but this band fixes every issue I have with ATG.

This is their 4th album, and it does not sound that much different from their previous 3 albums; hell, they have been doing the same thing since their Thousand Leaves days, so if you don't like the first album you listen to from them, then don't bother because they will sound similar. The songs even sound similar; they share similar structures and lengths (with some exceptions). But despite that, I like this kind of melodeath more than the sound commonly found in bands like ATG, Amon Amarth, and Arch Enemy. Why is that? Well, for one, the guitar riffs actually sound dark and foreboding, unlike the ones in "Slaughter Of The Soul", where they just sound angry but powerless. Another thing is that the songs weren't structured in a way that is aimed at delivering the chorus as soon as possible before connecting the choruses with a weak bridge and ending the song within 10 seconds after the last chorus is given. The songs here have a satisfying opening, verses, bridge, solo, and then a fitting outro, although some songs have a fade-out ending, which is a no for me.

This album does have some new and refreshing elements to it that are absent on the other albums, however. For one, there are keyboard synths in pianos in some songs; they are not that noticeable outside of some songs like 'Under The Red Sky', which conveniently shows that you can make a fully fledged melodeath song with a piano, replacing the guitars. I never knew you could do that, so props to them for even being able to pull it off well. The last two songs on disc 2 are acoustic renditions of some songs on disc 1, so if you want some acoustic songs, you better check them out. Honestly, disc 2 feels more like Finnish melodeath, while disc 1 is closer to the Gothenburg side of things.

Instrumentally, it sounds exactly like the other 3 albums thanks to all their albums being produced by Studio Prisoner, who is pretty much the go-to producer for Japanese metal albums, like Colin Marston across the Pacific. All the instruments sound great, but the vocals are oddly lower in the mix during disc 2, which makes some songs hit less hard than they did in disc 1.

I am definitely looking forward to their future albums. This band perfectly blends the Finnish and Gothenburg styles of melodeath while removing most of the things that made them a joke amongst melodeath fans. I have always thought that anything resembling Gothenburg melodeath would be an automatic demerit from all the plagiarism and lack of innovation, but it turns out that is not the case. Remove some of the poppy melodies, and you've got yourself some really solid stuff, no innovation is needed.

Highlights: 'Under The Red Sky', 'Betrayer', 'Crimson Sentinel', 'Dead Blind Nightfall'

Rating: 8.5 out of 10