Tenshi No Sakebi

Tenshi No Sakebi pulls together a decade of material where I stopped treating violin and metal as separate conversations and started asking what happens when they interrupt each other. These aren't orchestral arrangements draped over riffs—they're genuine collisions. The violin cuts, bends, and shreds the way a lead guitar does. The metal stays heavy and structured. When they meet in pieces like Genesis of Violincore or Hero of the Violincore, neither backs down.

“Rise of the Violincore stacks violin riffs the way a guitarist would layer parts, each pass adding density.”

What shapes this collection is how much I've borrowed from folk traditions—Celtic fiddle rhythms, guzheng's modal resonance, the physical attack of a shamisen—and fed them through distortion and tremolo-picked aggression. Kingdom in Trouble sits somewhere between a medieval war chant and a blast-beat blitz. Rise of the Violincore stacks violin riffs the way a guitarist would layer parts, each pass adding density. I'm using pizzicato for percussion, fast bowing for texture, and tuning choices that push the strings into minor and modal territory where they feel naturally metal. The drums and guitars ground everything; the strings lead.

Not every track here works the same way. Violin Pixel Endboss Music 8 Bit fractures into chiptune territory—a left turn, but one that made sense when I was mixing. Others like CRAZY VIOLINCORE GIRL and Broken by the Bow lean hard into the aggressive side, where the distinction between instrument and texture dissolves. Tenshi No Sakebi itself builds on that ascending tension idea across the whole runtime. This is violin metal that actually commits to being metal.