Road of Resistance

So as we enter the penultimate edition of this series we discuss Babymetal’s transitional track Road of Resistance, a collaboration with Dragonforce members Herman Li and [Sam Totman](Sam Totman).

I refer to it as transitional as it has formed a bridge between the debut and follow up albums Babymetal and Metal Resistance featuring as the final (in the international release) and first track on each album respectively. From an international perspective it is a slightly curious choice as for us it means starting off a highly anticipated album with a song people will likely consider a familiar ‘first album track’. Adding this to the fact that they have included exclusive tracks (“Syncopation” & “From Dusk Till Dawn”) that differ between the Japanese & international releases of Metal Resistance they could have taken the opportunity to include both of these songs on both versions of the album and used *Road of Resistance” as a bonus track on the Japanese release.

None the less, as a Japanese group they are more than entitled to use RoR as a track on the new album, primarily aimed at their home audience. It is a track that sums up the shift in Babymetal’s direction and the strong theme of exploration and togetherness that has been running through their marketing over the past 6 months (and in some ways since they first formed). It takes on a slightly more mainstream, mature approach, no doubt in part due to the Dragonforce influence. That said, Dragonforce being the band that they are, it also has an element of power metal fun to help carry the message of ‘following the untried path’ which swells with the ever more anthemic build the song creates.

It kicks off with ringing chords backing up the main riff played in a slow, ‘opener’ fashion. It has a building feeling before it reaches a quiet crescendo as everything drops for a moment, with the song then suddenly kicking into furious gear. It has a bright but urgent sound, like wild horses galloping with purpose. Indeed the choreography reflects this with the girls taking on a jockey’s riding stance as the songs kicks off at pace. There is quick solo work throughout this song that is very much in tune with Li & Totman’s writing style and it has a cool feel as the hooks ring true of it’s anthem like qualities.

Vocally there are a lot of repeated stances with Moa & Yui mirroring Su’s lines at numerous points, encouraging a sing along nature that is key to any anthem. Indeed the track has a blatant breakdown in this regard just after the three minute mark launching into a sustained period of “Woah, oh, ohoh” refrains, lengthened even more in the live version.

Another classic anthem trope is found just before the four minute thirty mark with the familiar key change for a final chorus before things slow to a inclusive ending, firing off with pomp and unapologetic majesty. There is perhaps nothing new in Road of Resistance that wasn’t done in the heyday of 80’s power metal but as is often the case with Babymetal there remains a freshness in the vocal arrangements. There is also a slightly poppier hook than might normally be found in a metal track of this type, although there are plenty of tracks from bands like Iron Maiden that are plenty poppy in themselves.

In many respects when it comes to live performances it is this blend of metal, pop and fun where Babymetal excel. Songs like RoR, Ijime, Dame, Zettai and forthcoming Metal Resistance closer “The One” are bold and broad, while tracks like Gimmie Chocolate and Karate are more punchy, hard hitting and amazing fun. This combination of performances that are large, all encompassing and have an element of pageantry leads to Babymetal channeling the classic 80’s spirit of metal bands who managed to be serious, metal but also immense fun along with it.

Too often these days genres like rock and metal are taken so seriously, especially when it comes to crossover acts. The idea of being authentic gets in the way of something being just fun and this is a tremendous shame. When did we become a society so in desperate need for authenticity in order to validate our music choices? Why can’t someone enjoy Slipknot, Babymetal and Take That in equal measure if they enjoy the music, diverse in both sound and original intension, without the need to justify how authentic any of them may be?

MV

The accompanying video for Road of Resistance is another snapshot of Babymetal’s epic live shows. From their Saitama Super Arena in Japan, a sold out show to 20,000 screaming fans it certainly displays what is arguably Babymetal’s biggest asset, their performance.

They open carrying flags like grand, metal Standard Bearers before Su-metal, with a face as serious as you could imagine, silently commands the crowd to part like Moses at the Red Sea. Within moments the song kicks in and the girls adopt the aforementioned jockey poses, whipping their imaginary steeds into a furious pace before Su-metal begins to sing. It’s quite literally a fiery affair as which each pound of music, plumes of flames erupt across the front of the stage.

The choreography here is full of fist bumps and encouraging movements to aid in further whipping up the crowd. Even the Kami band get in on this as shots show them pressing fists to the sky in between guitar lines. Su-metal as ever is slightly static as she focus’ on her vocal delivery while Moa & Yui deliver the lions share of the danceable heavy lifting. Yui is focused and serious while Moa, as ever, smiles throughout clearly feeding off an energy that permeates through the screen, even watching through YouTube.

As we hit the three and a half minute mark things take a break from the frantic pace and the girls walk out to a mini stage set in the crowd to lead them in a chorus of “Woah-oh-oh’s” that, if I’m honest perhaps goes on for a few repetitions more than is needed. There is an amusing moment, where with the music and Su-metal having let off to allow the crowd to take the lead, Su-metal comes back in with the crowd having fallen slightly out of time to sync them back up before the music crashingly returns.

Even with the music coming back in, this sing-a-long portion lasts past the six minute mark before things eventually move the song along again with a slight interlude where the girls dance before Su-metal begins to sing again. This should probably have happened at least a minute earlier as the song loses a little bit of its momentum through this section.

Back on track however the song finishes strongly with the key change and Su-metal taking the opportunity to shout out a few words which adds a further passion to the song in what is a fantastic finale to the live performance. This video like no other, has seriously whet my appetite for what may lie in wait at Wembley in two weeks time. The video ends with the trademark call and response “WE ARE…”… “BABYMETAL” before their classic kawaii closer “See you” which you can hear the whole arena join in with.

In many ways Road of Resistance is Babymetal’s best video. Full of energy, excitement, passion and everything that makes a Babymetal performance the draw that has brought them so much success. I have played this video to a number of friends who even if they don’t like the band themselves have commented on what an epic looking show the gig seemed to be. It leaves high expectations for Wembley, expectations I’m confident the band will meet. The bar is set high however, so with Metal Resistance gaining steady traction, Wembley is lined up to be a frenetic start to a year that looks to be the final nail in the coffin for the label that they are just a fad.

Resistance would indeed seem to be, futile.

Thanks once again for reading this issue of the Wembley Celebration Series. Next week will be the final instalment of the series, where I will look at what the future holds for Babymetal and the new album Metal Resistance. Please leave your comments on Road of Resistance below and as always, until next time…

See You!

You can find the earlier instalments of this series here:

Part 1 Babymetal Birth, Babymetal Death

Part 2 Megitsune

Part 3 Gimmie Chocolate

Part 4 iine!

Part 5 Akatsuki

Part 6 Doki Doki Morning

Part 7 Onedari Daisakusen

Part 8 Song 4

Part 9 Uki Uki Midnight

Part 10 Catch Me If You Can

Part 11 Rondo of Nightmare

Part 12 Headbangya

Part 13 Ijime, Dame, Zettai