Japanese metalcore has undergone a significant transformation over the past decade. Emerging from the genre’s Western foundations, downtuned guitars and breakdown-heavy structures, the Japanese scene injects something extraordinary into the genre itself. Bands like Crossfaith, Crystal Lake, Coldrain, and Earthists. have become global touchstones. Japanese metalcore’s brutality is rarely left unchecked, often countered by intense choruses and electronic textures.

Equally vital to the scene’s growth has been the increasing visibility of women – not as novelty acts, but as central creative forces. From all-female metal bands like LOVEBITES, Aldious, and Nemophila, Babymetal, to mixed-gender projects, Japan’s heavy music has dismantled outdated expectations.

Emerging from this is the superb Zilqy, a four-piece metal band. Comprised of Anna (vocals), Toki (guitar, formerly of Aldious), Miho (bass, formerly of LOVEBITES), and Kano (drums), Zilqy position themselves as a global all-female metal band, stepping confidently into a space long dominated by male acts. Their sound, which they describe as “Post-Melodic Nu Metal“, is superb on many levels. Anna’s bilingual vocals don’t disappoint either. Even their name – drawn from zilch and queen -speaks to their ethos: sovereignty without ownership and power without being boxed.

With their debut EP, Vacant Throne, released on November 5, 2025, followed by their first live show on December 10, Zilqy quickly impressed audiences in Japan and abroad. Shortly after, and before the year came to a close, we were delighted to sit down with the group to talk about their debut, their first live performance, and their music as a whole.

When I’m writing for Zilqy, language isn’t just a tool, but rather like a visceral shift in texture. Because some emotions don’t translate easily, I think I’ve learned not to force them. So when I’m singing in English or Japanese, I really focus on trying to evoke the raw emotion that language alone can’t capture. – ANNA

View of the Arts: Zilqy describes itself as a “Post-Melodic Nu-Metal” band, a term that sounds almost futuristic. How did this label emerge, and what musical boundaries were you consciously trying to move beyond when creating your sound?

Miho: When we formed Zilqy, we wanted to evolve nu-metal rather than simply revive it. With the genre’s recent comeback and how naturally it fits Anna’s voice, it felt like the right time to push it forward. We wanted to move beyond nu-metal as a nostalgic, Western-defined genre and reshape it with modern energy and a melodic sensibility rooted in our Japanese identity. That’s why we describe our sound as “Post-Melodic Nu-Metal,” bridging respect for the past with a new future.

VOA: You describe yourselves as a “Global All-Female Metal Band from Japan.” Instead of being a limitation, it feels empowering. How do you engage with the Western metal scene while staying true to your Japanese musical identity?

Miho: All-female metal bands are not uncommon in Japan, but globally they are still a minority, and that uniqueness has become part of Zilqy’s identity. We don’t see our gender as something to be used as a gimmick. While heavy metal is still largely a male-dominated world, we believe some sounds and expressions can only come from women. In the same way, when we engage with the Western metal scene, we don’t try to sound “more Western.” We bring our Japanese sense of melody and emotion into the music, and that contrast is what makes Zilqy feel fresh and original.

When we launched Zilqy, we were surprised by the amount of attention we received. Not everyone expected us to go in this direction, but that was exactly what we wanted – to challenge expectations and show something new. – MIHO

VOA: Your name combines Zilch and Queen, symbolising “a queen who belongs to no one, yet can be everyone’s queen.” How does this philosophy translate into the way you perform, write, and connect with your audience?

Anna: Probably in a way that’s a little unexpected. With all due respect, our philosophy stems from the idea that forced hierarchy is bullshit and powerless. We believe that no one is inherently superior or inferior, and rather, any power dynamic should be a deliberate choice or a role willingly assumed. We won’t be our fans’ “queen” unless they choose to see us that way. The audience holds the power to choose who they crown. We embrace that freedom in our writing because we believe true connection isn’t something that can be forced – it has to be earned.

VOA: With worldwide digital distribution through Blood Blast and management by MAVERICK, Zilqy enters the scene already globally aligned. How important was it for you to launch internationally from day one rather than build locally first?

Miho: Thanks to the internet, music is global from the very beginning. That’s why Zilqy wanted to be a band born already connected to the world, not one that goes global later. We believe heavy metal is a universal language, and with the support of Blood Blast and MAVERICK, that vision became real. Starting globally is not just a strategy for us – it’s part of who we are.

VOA: Anna, as a bilingual vocalist shaped by overseas experiences, your voice becomes a musical and cultural connection. How do language, emotion, and identity intersect when you’re writing or performing vocals for Zilqy?

Anna: Honestly, I feel incredibly lucky to have lived between worlds, and I’m deeply humbled that my team has trusted my voice to be our storyteller. That trust really gives me the confidence to be unapologetic about using that platform to challenge how a “bilingual artist” is supposed to sound. When I’m writing for Zilqy, language isn’t just a tool, but rather like a visceral shift in texture. Because some emotions don’t translate easily, I think I’ve learned not to force them. So when I’m singing in English or Japanese, I really focus on trying to evoke the raw emotion that language alone can’t capture.

Before Zilqy, I hadn’t really worked with down-tuning as a main approach, so the biggest change for me was seriously diving into down-tuned guitars to match Zilqy’s musical direction. I changed string gauges and my overall sound setup, and I basically retrained myself from scratch when it came to picking techniques and muting. – TOKI

VOA: Another question for you, Anna. Your vocal presence balances aggression with melody and your own emotions. How do you approach vulnerability in such a heavy sonic environment – and has metal allowed you to express emotions you couldn’t elsewhere?

Anna: The weight of the music actually creates a sense of stillness for me. It mutes all the unnecessary noise and allows me to focus only on the core emotions. It’s much like being in the shower with the water running against your ears, or listening to white noise; that sensory pressure creates a space where I can think and feel more fluidly. For me, heavy metal is one of the few places where emotions aren’t diluted. It translates explosive emotions like anger and sorrow with a raw honesty you can’t find anywhere else. So if the music is going to be that loud and that raw, I owe it to the song to be completely honest with my emotions.

VOA: Toki, coming from Aldious, how did you reshape your guitar language for Zilqy’s heavier, groove-driven, electronically influenced sound?

Toki: Before Zilqy, I hadn’t really worked with down-tuning as a main approach, so the biggest change for me was seriously diving into down-tuned guitars to match Zilqy’s musical direction. I changed string gauges and my overall sound setup, and I basically retrained myself from scratch when it came to picking techniques and muting. Recording was especially challenging, but every time I played, I could feel myself improving, which made the whole process feel fresh and genuinely fun. In songs that feature guitar solos or lead parts, I still try to stay true to my own style by focusing on melodic lines that feel natural and expressive to me.

I don’t really think about mixing genres consciously. I feel like it’s best when it comes out naturally without overthinking it. Rather than having a very square or rigid groove, my strength lies in a more flexible sense of rhythm, and I believe that’s something that really comes through in Zilqy’s sound. – KANO

VOA: Miho, having performed on major international stages like Wacken Open Air and Download Festival, how have those global live experiences influenced the way you approach rhythm, power, and presence in Zilqy?

Miho: Performing at global metal festivals made me realize that heavy metal is a form of music that can be shared beyond nationality, language, gender, and age. At the same time, while there are many women in the audience, the performers on stage are still mostly men. That’s why I’ve become even more conscious of delivering a performance that can reach the farthest corners of the crowd, even as a petite Japanese woman. Zilqy is a band where every member has a strong presence, and we’re eager to bring that energy to audiences overseas as soon as we can.

VOA: Kano, your drumming draws not only from metal, but also Latin music, jazz, and pop. How do these influences surface within Zilqy’s framework, and how intentional are you about mixing genres behind the kit?

Kano: I don’t really think about mixing genres consciously. I feel like it’s best when it comes out naturally without overthinking it. Rather than having a very square or rigid groove, my strength lies in a more flexible sense of rhythm, and I believe that’s something that really comes through in Zilqy’s sound.

VOA: With your debut EP, Vacant Throne, now released and your first live performance behind you (online showcase), this period feels like a defining opening chapter for Zilqy. Looking back, what did you want listeners – especially international audiences discovering you for the first time – to feel when they heard Zilqy, and do you think that intention translated the way you hoped?

Miho: When we launched Zilqy, we were surprised by the amount of attention we received. Not everyone expected us to go in this direction, but that was exactly what we wanted – to challenge expectations and show something new. The positive reactions from live shows and overseas audiences tell us that the impact is already there, and it’s an important step toward our next EP and future tours. While bringing together our individual foundations, we want to take Zilqy’s music to even more people.

Written and interviewed by Maggie Gogler

Featured image courtesy of MAVERICK

_{View of the Arts is an online publication dedicated to film, music, and the arts, with a strong focus on the Asian entertainment industry. As we continue to grow, we aim to deepen our coverage of Asian music while remaining committed to exploring and celebrating creativity across the global arts landscape.}