CELLT - Meiryou monument

CELLT is an often overlooked visual band that, after four years, still hasn’t quite reached the level of prominence it deserves. They're not the loudest group, and not particularly big on death vocals or screaming. Imagine the accomplished vocalist Tenten of KuRt inserted into a band that demonstrates exceptional creativity even while championing the new generation's brand of heavy plus melodious, a fairly unoriginal concept but a winning one. That's fairly close to CELLT's sound in Meiryou monument. The general concept behind these three songs isn't original, but what stands out is how they elevate that concept.

Butterfly is a hard and fast piece that will make you want to see this band live; it's an excellent choice as the opening song. Starting out with mero's ominous drumming, it segues into some faster: a headbanging rhythm with an original guitar line that carries a dark, deranged mood. Matching the aggression of the music the vocals are full of emotion, mostly angry and rebellious, as we might expect by now from Kiyoto. However, the heavy, violent atmosphere is dispelled when the chorus enters. The instruments become lighter, the guitars higher and the vocal melody line soars. Still maintaining the song’s dark overtones, that melody holds the critical emotional heart of the song, making it not just music, but beautiful. Kiyoto's vocals are colored with anguish, and the sense of longing overpowers the hostility from the verses. The song closes with the same fast, headbanging violence it began with.

This is followed by Boukyaku no ame, which opens with a similarly heavy, headbanging beat with an emphasis on weight rather than speed. The music practically drops out when the vocals come in and supports Kiyoto ornamentally. For the lead-in to the chorus, the guitars launch back in at full force, matching the suddenly angry, growl-laced vocals. And then we're at the chorus - it's fast, catchy and fun. You would think the members were smiling and having a blast while they played the music for this section, and sung by anyone else, the melody would sound light hearted and uplifting. However, Kiyoto puts a dark spin on it, loading it up with angsty emotional weight, even while soaring into falsetto. This winning contrast is one of CELLT's greatest charms, even if it doesn't come up in every song.

Tsuioku follows a different formula, starting out with a fast and high chorus, setting the pace for a fun, catchy song. Despite the cheery melody, Kiyoto sounds like he's just been stabbed in the back by his most trusted friend. The higher register guitar playing in the verses is a plus during this one and follows a melody that will have you praising the band's creativity. The follow up after the refrain will have the same effect when you hear the drum and guitars change into a fast, rock waltz-like rhythm. There's the rocking guitar solo as well, but some of those other unexpected elements are the added bonuses. Overall, it's a much less aggressive song than the previous two, more focused on melody throughout, but it's still a good one for a live house, though far too fast to be considered a ballad.

Many young visual kei bands set out to mix heavy, violent music with light, catchy choruses, and that in itself can often make for a great song. But CELLT goes beyond this basic requirement. Their trump card may well be Kiyoto's vocals, which are grand enough and talented enough to make the group stand out. But beyond that, the creativity in their compositions is an indicator of their members' experience and makes them feel like a veteran band rather than a four year old one. Not every song they've put out is at this level, but if you like the general concept of dark, heavy music with excellent melodies, this largely unknown band's single Meiryou monument has three incredible songs that will be right up your alley.