ðɛɹ stˈuːdɪˌoʊ ˈælbəm, ðɪ ɛpˈɑːnɪməs ʃɪndʒˈɛtsuː, ˈɔfən kənsˈɪdɚd æz ɐ mˈæstɚpˌiːs ʌv sɪmfˈɑːnɪk pɹˈɑːɡ, ɪz ɐbˈʌndənt ɪn mjˈuːzɪkəl ɚɹˈeɪndʒmənts: ðə tˈeɪstfəl jˈuːs ʌv sˈɔft ˈɔːɹɡən slˈæʃ sˈɪnθ sˈaʊndskeɪps, mˈɛlətɹˌɑːn, ænd twˈɛlvstɹˈɪŋ ɡɪtˈɑːɹ pˈæsɪdʒᵻz ɹˌɛmᵻnˈɪsənt ʌvðə jˌuːkˈeɪ bˈændz ʌvðə nˈaɪntiːnhˈʌndɹɪd sˈɛvənti z, wˌaɪl kˌɪɾeɪˈɑːməz vˈoʊkəlz ɡˈɪv ʃɪndʒˈɛtsuː ɐ dɪstˈɪŋktɪv ˈɛdʒ fɹʌm wˈɛstɚn bˈændz.
Their studio album, the eponymous Shingetsu, often considered as a masterpiece of symphonic prog, is abundant in musical arrangements: the tasteful use of soft organ/synth soundscapes, Mellotron, and 12-string guitar passages reminiscent of the UK bands of the 1970s, while Kitayama's vocals give Shingetsu a distinctive edge from western bands.