All photos, including header, by Takashi Konuma (@takashi_konuma)
Additional MC translation from Japanese by Rin (@pizzadaisuki)

KNOSIS “奈落” VOL.2
-ONE MAN-
Space Odd Shibuya, Tokyo, Japan
January 3rd 2025

For those who are unaware, in Japanese and Chinese zodiac signs, 2025 is the year of the snake. That is why it was so fitting that our first live of the year was to be a KNOSIS headliner show. Originally, the line-up was supposed to be a two-man show with one of the heaviest underground metalcore acts in Tokyo, View From The Soyuz, opening the show but due to the singer’s health, they had to pull out. As disappointing as this was, it was too late to find a replacement but judging from the multitude of KNOSIS merchandise being rocked from the crowd- the audience were going to be just fine.

Walking out with a snake neck pillow, KNOSIS creator Ryo Kinoshita was more than ready to ring in the New Year. Joining him were his ever present members Kosuke Tano on bass and the decks, Moroishi Kazma behind the kit and on guitar Crossfaith’s Daiki Koide. This well oiled unit has been tearing up the stage the last few weeks, so the anticipation in the crowd was bubbling over even before they had entered the punters line of site. At a little after 6pm, the neck pillow was given a home on the drumkit, the room flashed red, sirens sounded and everybody in the room knew it was time:

Time to see what energy and chaos KNOSIS would be bringing into 2025.

The show was dubbed “奈落” VOL.2- so it only made sense that they opened show with ‘奈落 (Naraku)’. Ripping into this fast, furious and brutal track- it only took thirty seconds for the crowd to get unruly. Bodies clamouring to the front, arms moving up and down in unison to the songs stripped down verse, once the first breakdown hit, the pit opened up at Ryo‘s request. The seasoned veterans took the lead and from the accounts of those spoke to after- there really was no safe spot to stand. In what was change up from previous sets, they went straight into last years breakout single ‘厄災(Yakusai)’. This had everybody jumping, taking cues from the almost athletic display that the members not stuck behind the kit were putting on. As Ryo leant over the barricade, he was joined by the room belting out the chorus.

Taking a moment to address the crowd after the opening two songs, the mood in the room was one of high spirits. The charismatic frontman explained the absence of View From The Soyuz and also, apologised that the album he had promised at the end of 2024 was not quite ready yet but would definitely be out in 2025.

Not one to kill the momentum, it was then time to charge through the tenacious and ferocious (and crowd favourites) ‘忌鬼 (Imioni)’ and ‘神喰 (Kamigurai)’. The mastery and complete clinic put on by Moro during these tracks is a joy to witness, with the drums pounding through your body, overtaking your heartbeat. Also, what Daiki adds to ‘神喰 (Kamigurai)’ with his playing style never fails to scratch my brain in the best way. After a major metal onslaught, it was once again time for rave portion of the set- this time Ryo taking to the stage by himself, delivering a vocal performance over a remix of ‘星砕 (Seisai)’, where he easily showed up other metalcore vocalists who are dabbling with a rap style delivery. Followed by ‘厄災(Yakusai)’ remix where he put on a menagerie of animalistic growls and vicious gutturals. There was no denying Ryo was in his element.

Taking periodic breaks after a few covers and delivering their new years messages, the frontman gushed over the musicians he was sharing the stage with- and them right back. As drummer Moro went on a tangent over his excitement the latest Gundam release, the crowd cheered back enthusiastically. The set seemed to fly by, and I could not help but be swallowed up by their performances of their latest song ‘毒沼’ and my favourite unreleased track ‘火脂（Hiabura)’. The balance of disgruntled aggression and emotive verses shows a clear development of KNOSIS’s dabbling into more melodic styles- something that I think fans who are yet to hear these songs will pleasantly surprised by. Kosuke’s backing vocals need to be mentioned as that man has pipes and really begs the question, can this man do it all? Not only is he a weapon on bass but his work providing all those little moments that help bring shows together,  need to be acknowledged. As impressed and as caught up as I was in these two songs, it was the performance of their track ‘暗月’ that blew me the most away.

Back in November 2023, I was lucky enough to hear this song performed in what was probably one of first times they played it live. Since then, it has evolved into a whole other level. The lyrics are poignant and cut through the almost ethereal and liturgical soundscapes, with the singing taking on a different style rawness and sensitivity than what we are used to with Ryo.  Up until now, most of the time when I’ve seen him perform this song, particularly until the drums kick in, he never really faced the crowd. This time, it felt like we were making eye contact with his soul as he allowed us in through a song that is just drenched in pain and vulnerability. He stared the sea of supportive fans, in one of the rare times of the a KNOSIS show that there is stillness in the room. There was a sense of trust between a musician and his community, something that takes time to build but becomes more and more evident every single time I see this band live. The performance of ‘暗月’ at this particular show to me was the pinnacle of everything that has been created, curated and transpired until now.

Once the soul was bared, it was then time for catharsis. Unleashing chaos into the room, it was time for ‘腐敗 (Fuhai)’- their latest single. It was only absolutely unhinged from here on out. Bodies everywhere. Crowd surfers, stage divers, spin kicking- what every way to use your body, you were invited to get wild. After a few more songs- there was only one way (that didn’t involve a song that they often use an encore) to truly push the limit of how insane things can get and that was to cover Hatebreed’s ‘Proven’.

The aftermath had people looking for discarded items, unknotting their hair, wiping off the sweat despite a chilly night and stretching out any injury that may have occurred. Despite this though, there is always a sense of relief, joy and letting go that overtakes the room after a KNOSIS live. While I’ve seen this band many, many times in different iterations, this set felt a little different. It felt like a statement. It felt like a culmination of two years of grinding and testing the waters.

The year of the snake isn’t just a metaphor that the band is throwing around.
It is warning. It is a proclamation. It is a shotgun blast.

This year is KNOSIS’s year and I cannot wait to watch it unfold.