ARIA [Departure/Harmonize you] (12th Single)

Departure feat. AK-69
Harmonize you feat. Kalassy Nikoff
HANDLE IT feat. “E”qual (Eighto/THE ULTRA★MEN Remix)

ARIA’s 12th double a-side single starts off with the first a-side Departure. This is a collaboration track which features AK-69. When I first listened to this song, I didn’t really like it, because I had no clue what she was talking about, then mid-way through the song I realized she was talking about leaving him, and referring to said leaving as a departure. I thought the arrangement was pretty interesting, if not a little chaotic and quirky, with the typical snap clap beats. ARIA’s vocals were good, but not anything impressive. AK-69 did all right for this collaboration, I mean I’ve heard worse. This is a pretty OK track, I’d listen to it, and I actually like it, because of the message in all–but its not really single material, more album material, really.

The second a-side is the down-tempo ballad Harmonize you. It’s a collaboration track as well feat. Kalassy Nikoff. I thought this was a lot better than the first a-side, and not because its down-tempo either. The arrangement is pretty gorgeous, it has a sad lilting quality to it that I adored. It could be piano or guitar. ARIA’s vocals were a lot more defined on this song, especially during the chorus: ‘every time i see your oh i know, how much i need you, love you more and more’ and it really shun on the: ‘zutto, zutto’ parts. Kalassy Nikoff’s part on the other hand really dragged this song down, and nearly ruined it for me. His voice is too sharp, and not very good. As where ARIA’s voice blended right in with the arrangement, his seems rather loud, and its almost as if he’s singing over it. Their voices did not mesh well together either. I really wish she would have did this song without a collaboration, or at least chose someone whose voice was better suited for a song like this. Ignoring Kalassy’s part however, this is a good song.

The last track on the single is a remix, HANDLE IT feat. “E”qual (Eighto/THE ULTRA★MEN Remix). I really do detest remixes, and what do you know, I didn’t like this. I’m still pretty up and down with this song, and this remix only makes it worse.

-GRADE: B-
Rating: ** stars

ARIA’s 12th double a-side single was pretty decent. I thought Departure was nice, even it went a bit over my head. Harmonize you would have been so much better if only she had chosen someone better, or just sung this song herself. The remix of HANDLE IT is of course forgettable. I did in a sense enjoy this single, but at the same time it isn’t anything impressive. I however do anticipate her next single.

ayaka [Sing To The Sky] (Second Album)

POWER OF MUSIC
Ai wo Utaou (愛を歌おう; Let’s Sing Love)
Sky
Jewelry day
Good Night Baby
For today
Why?
Gold Star
Mahoutsukai no Shiwaza (魔法使いのしわざ; The Magician’s Deeds)
Te wo Tsunagou (手をつなごう; Let’s Hold Hands)
Ai mo Uso mo Shinjitsu (愛も嘘も真実; Love, Lies and Truth)
CLAP & LOVE*
Kimi ga Iru Kara (君がいるから; Because I Have You)
Okaeri (おかえり; Welcome Home)
Kon’ya mo Hoshi ni Dakarete… (今夜も星に抱かれて・・・; Wrapped in the Stars Tonight)
WINDING ROAD (ayaka x Kobukuro (絢香×コブクロ) (bonus track)
I believe (English ver.)(bonus track)

The album starts off with POWER OF MUSIC. This song really sets the mood and really makes you anticipate the rest of the album. The arrangement was pretty country-sounding, but I loved how it incorporated so many different sounds to get you moving a bit. ayaka’s vocals were pretty deep and I liked that, added a lot of flavor to this song, and made it interesting when it would have at first listen come across as very bland. I like how it got kind of party-ish towards the end, it gave you this friendly vibe of everyone you know closely gathered together and just having a good time. This was a nice way to start off the album: ‘power of music,’ good line.

The next track is the country-rock esque Ai wo Utaou (愛を歌おう; Let’s Sing Love). There’s not much I can say about this song really, I didn’t really pay too much attention to this single when it came out, and though this is a good song, I find that I don’t really care for it all that much. The arrangement is pretty typical for a song like this, but its good, though I wouldn’t want to listen too it by itself, it’ll probably give me a headache. ayaka’s vocals are good, as usual, I especially loved her voice during the chorus where it rises. This song can be a bit dull, but I do like it.

The next track on the album is the rather impressive Sky. I did not expect to like this song, but as it stands, its quite good. The arrangement is of course your typical ayaka arrangement but I did love how it came in with the drums and then melted into such a smooth and crisp flow, giving this song a nice airy appeal. ayaka’s vocal performance was really good. I definitely loved it during the chorus, which in my opinion is the best part of this song. This jumps hurdles over the previous track.

The next track on here is the beautiful and absolutely heart-wrenching Jewelry day. Words cannot describe how much I love this song, it always leaves me speechless and so very moved every time I listen to it. I can hardly believe there was a time when I really didn’t care for this song, it seems like a far off dream. The arrangement is one of the most poignant I have ever heard, it sets such a mood of longing and contentment; I had love, but then I lost it, however I do not regret it and am glad that I did love. ayaka’s vocal performance is one of the best I’ve heard from her, and she really pulls this song off. The rise of her tones during the chorus, the melancholy of the verses, the desperation in her aud-libs towards the end. I really love them, they’re so sad. At one point every time I listened to the ‘ooh-ooh’ parts at the end and then the strings of the song going out, I would burst into tears, then it got to the point where my eyes would just water, now I just find myself smiling sadly. This song is so lovely, and filled with such a warmth and hope regarding love. Its such a special song to me, and it’ll always stay close to my heart.

The next track on the album is the acoustic driven Good Night Baby. This is more or less one of those songs I’ll listen too, say I like, never listen to again and then by chance happen to listen to it and wonder why I haven’t been listening to it. The arrangement is very minimal, all I heard were the drums, but it really did its part. ayaka’s vocals were deep and somewhat breathy it was a nice effect. I honestly don’t get this song and for some reason it just seems like its there. It would have played better as an interlude, because the song is very brief and its ends rather abruptly.

The next is the up-tempo For today. This is ayaka’s first digital single and its a pretty damn good one. The arrangement has a lot going on and keeps you interested. ayaka’s vocal performance was really damn good, she really went all out for this song, and reinserted the fact that she can really freaking sing.

The next track on the album is the moving Why?. This is actually the song that got me interested in ayaka’s music. I stumbled across it by chance, because its the ending them for CRISIS CORE -FINAL FANTASY VII-. I remember thinking that they couldn’t have found a more perfect song. The arrangement is so deep and moody, I just love it. It makes you think of storm filled skies, and an emptiness that you can’t really describe. ayaka’s vocal performance in this song is really one of my favorites from her, the sheer depth and amount of emotion she put into the song, especially on the ‘why?’ parts, it just makes this song so very moving. I really loved the bridge as well, ayaka shifted her tone and it was perfect. This is one of my favorites.

The next track is the edgy Gold Star. I did not like this song at first, because it seemed to have nothing to stand on. The arrangement is pretty much rock acoustic with a country flare to it, its basic but it really went well with ayaka’s strong and consistent vocals. This isn’t a song I would listen to often, or even one that I would remember, but its still a pretty decent song.

The next track is the endearing Mahoutsukai no Shiwaza (魔法使いのしわざ; The Magician’s Deeds). This song has a lovely whimsical quality about it that is very nice. The arrangement is a very simple piano arrangement that is just really wonderful, because it just does and really brings a magical feel to the song. ayaka’s vocals were pretty light and somewhat cute, I really did love how she sung this song, her voice coupled with the arrangement gives you such a warm feeling.

The next track is the down-tempo, mid-tempo Te wo Tsunagou (手をつなごう; Let’s Hold Hands). This song really reminds me of another version of Jewelry day. When this song first starts off, it just seems so beautiful to me that I want to cry for some reason, even if this song does not particularly make me sad. I thought the arrangement was nice, but it made me think of walking alone on a windy day. ayaka’s vocals were great, especially during the chorus, and this one part where her voice just rose and she really got into the song, it was just love. I adore the ‘do-do, do-do…’ parts towards the end.

The next track is the rather annoying Ai mo Uso mo Shinjitsu (愛も嘘も真実; Love, Lies and Truth). My like for this song has instantly turned to dislike, and it may never revert itself. This is not a bad song, I’m sure a lot of people will find themselves jamming to this, I am not one of those people. The arrangement is pretty jarring and sudden, and the whole effect is very impossible. ayaka’s vocals are strong but they are really all over the place, and it makes her sound crazy in a sense. This song is quite capable of giving me a headache, which sucks because its really not a bad song. NOTE: This song as grown on me as well, ayaka was certainly jamming during the chorus.

The next track is the quirky CLAP & LOVE. I use to really detest this song, because I didn’t think it was just bad, I thought it was awful. The whole concept of it was just really annoying to me. I still don’t really like this song, but it has grown on me. The arrangement is pretty engaging and I love the clapping in the background, it stayed very consistent and didn’t detract from the song. ayaka’s vocal performance was pretty good, she put a lot of emphasis in her voice and that really made this song stand out and somewhat catch my attention. I’m still wary of this track, but I am starting to like it.

The next track on the album is the mid-tempo Kimi ga Iru Kara (君がいるから; Because I Have You). What a lovely song. ayaka has such an inspiring voice. Its like a whole different take on Hikki, and she can take songs that wouldn’t ordinarily appeal to you sung by someone else and just make them work. The arrangement was really just gorgeous, and gave off such a warmth that just makes you smile. ayaka’s vocals are just perfect in this song, it makes everything feel so real. I mean looking at the title, and that coupled with the nice arrangement and ayaka’s heartfelt vocals, it can really bring tears to your eyes; like a, ‘because i have you, i’ll always be happy,’ type of song. It makes you sad, but a happy type of sad.

The second to last track is the supposed to be emotionally-moving Okaeri (おかえり; Welcome Home). This is a nice song, it really is, but it just comes across as so very long-winded to me and a bit bland. I think the only stand-out thing about this song is ayaka’s vocals during the chorus, because that seems to be the only time this song showed some personality, that in the way the song went out. NOTE: This song has grown on me, I guess, I no longer dislike it.

The last track on the album is the beautiful ballad Kon’ya mo Hoshi ni Dakarete… (今夜も星に抱かれて・・・; Wrapped in the Stars Tonight). This is such a gorgeous song. It makes me think of those that have passed, whom I miss dearly and know are now stars in the sky. The arrangement is sweeping in a simple way. ayaka’s vocal are very wistful and longing, but holds such a quiet strength that is admirable. This is a song you can play over and over and never get tired of. It plays like a dream, and was a lovely way to close the album.

That isn’t the end of the album of course, because ayaka decides to tack on two bonus tracks. The first being the hit collaboration between her and Kobukuro, WINDING ROAD. I do not like this song, in fact I LOATHE it and that is all I will say.

The last bonus track is the English version of my favorite ayaka song, I believe. It was all right, but I just don’t like the translated version. It doesn’t hold the depth or emotion of the Japanese version and is very lukewarm in comparison.

-GRADE: A
Rating: *** stars

ayaka’s second album Sing to the Sky is about two steps up from her previous album, and gives me high hopes for her third. She had some really kick ass tracks on this and I found myself loving nearly every song on this album, and quite possibly even changing my mind about a certain song that I at one point loathed, that song being CLAP & LOVE. The arrangements were a lot less lukewarm and watered down and more arresting and engaging, making you want to pay attention to the songs as to where in the previous album it felt like you were forced too. POWER OF MUSIC was a much better opening, and its a song I can see myself listening to over and over. The up-tempo tracks on the album were really quite good, as ayaka displayed a power and strength to her voice that was strangely absent in her debut: Ai wo Utaou, For today, Gold Star, Why? and CLAP & LOVE really brought out that powerhouse inside of her. Of course those weren’t the only songs that showed her sheer vocal prowess: Sky, Mahoutsukai no Shiwaza, Kimi ga Iru Kara, Kon’ya mo Hoshi ni Dakarete… and lets not forget one of the best and most beautiful ballads I have ever heard, Jewelry day. Despite me liking the majority of the songs on this album, there were a few I didn’t like: Ai mo Uso mo Shinjitsu and Okaeri standing out the most because I at one point really enjoyed those two songs, now they just simply annoy me. I will never like WINDING ROAD and it will always surprise me that people do. I thought the two bonus tracks were pretty pointless as well, she should have just included WINDING ROAD as a part of the album and put the English version of I believe on a single, leaving the album out on a contented note with Kon’ya mo Hoshi ni Dakarete…. Sing to the Sky was really quite the good album, and I find that I’m not surprised by that fact. I hope her third album is even better.

Ayumi Hamasaki [Mirrorcle World] (43rd Single)

Mirrorcle World
Life
YOU (10th Anniversary version)
Depend on you (10th Anniversary version)

Ayumi Hamasaki’s 42nd single starts off with the kick-ass Mirrorcle World. The first time I heard this song, I was watching the video. Needless to say the video nearly ruined the song for me. Ayu decided to take her greatest intro ever Mirror and stretch it into a full song, and I must say she did it justice. It starts off on such a majestic and epic note, and honestly if I hadn’t already heard this song and knew what to expect I really wouldn’t have expected it to go the way it went. The arrangement is gorgeous, so many instruments at work giving it such a feel of grandiose! Ayu’s vocals are quite good. You would not really think her vocals were so squeaky, she really pulled off the right tones to give this song a lot of emotion and edge. I wasn’t too enthused with this song when it first came out, I’m still not. But I do know good music when I hear it, and this is definitely one of the best and most creative songs in her entire discography.

The next track is the b-side Life. I’ve grown rather fond of this song, I really have. Its quite lovely and charming. I don’t really agree with the negative reviews it has gotten, honestly. Its not as epic as the a-side, and I think that alone is why a shadow has been cast over this song and it has become so forgettable. What a shame, it really is a good song. The arrangement is so airy and fresh. I really love how it makes you feel free after feeling trapped for so long. I thought Ayu’s vocal performance was really top-notch, she gave this song such personality. Her tone is so very sad to me, and it gives this song the whole effect of a deep wistfulness. At the same time though, its the type of performance that will make you give way to a smile, without really meaning too, though you would have tears in your eyes. I love this song and wouldn’t mind hearing it on her next studio album.

This is a special little single as its in honor of Ayu’s 10th anniversary in the music business, so she released this single in two different versions: the YOU version and the Depend on you version. The 10th anniversary version of YOU is really just awful. Its like she took all the meaning out of the original and turned it into some sort of up-tempo rock version of trash. YOU is one of my all-time favorite Ayu songs, so I was really disappointed with how this version, ten years later mind you, sounded worse. It really just defies all meaning on how a newer version of an old hit song can come across as the worst of the two and its your song!

Depend on you is a lot better. It has a bit of a rock element, but it wasn’t as grating or as out of place as the one in YOU was. Ayu’s vocal performance is a bit strained but its also a lot better. I’m guessing Ayu took this 10th anniversary re-recording a lot more serious than she did the one for YOU. Strange, I always thought she was rather fond of that song…

-GRADE: A-
Rating: **1/2 stars

Ayumi Hamasaki’s 42nd single Mirrorcle World was really good, and I actually find myself enjoying it more this time around than I did when I first listened to this. The a-side Mirrorcle World is made of epic win even if the title is difficult to say. I love Life I don’t care what anyone says, that’s a good song. YOU is forgettable and Depend on you is pretty OK. I’m really anticipating Days/GREEN now.

ARIA [initial A] (Second Album)

Sexi Sexi
X-MAN2~Saturday NightヤバFever✩~
OH…What a night
LOVE again-200% mix feat.TYPE-Lo
A Song 4 U
話をしようよ (Hanashi wo Shiyouyo)
名前呼んでIで叫んで (Namae Yonde I de Sakende)
initial A
EXCUSE ME
7days
(Another 3 months) without u
Breathe into the rhythm
me & my girlfriend-home girls remix feat. Black Fly
NEVER SURRENDER ~信じる力~ (Shinjiru Chikara)
Missing

The first track is the mid-tempo Sexi Sexi. ARIA starts the song off by talking, letting you know that this is her second album (because we didn’t know that) the beat that is playing in the background sounds like a sample of Mary J. Blige’s early hit Real Love, which is quite possibly my favorite song by her. I thought ARIA’s vocals were pretty strong in this track, if not a bit strained; towards the end when she was aud-libbing it sounded like her voice was going out. The arrangement was very street, I liked that. This is a pretty cool song, the whole ’sexi, sexi’ gave this song a lot of flavor, and made this a pretty decent opening to her second album.

The next track on the album is the up-tempo and quirky X-MAN2~Saturday NightヤバFever✩~. The main reason why I like this song lies in the title. It makes me think of someone who has broken it off with their boyfriend, said break-up not being a very good one, and instead of wallowing in self-pity she goes out with her friends and has a good time. The title is pretty crazy, but very unique. ‘X-men’ of course meaning ex-boyfriend, and ‘Saturday night fever’ meaning something along the lines of one going out on a Saturday night and partying it up. The arrangement was pretty edgy, a bit chaotic, very old-school rnb-ish and somewhat consistent. ARIA’s vocals were good, and she was really into the song and that really made me connect and enjoy it a lot. This is the type of song that makes me proud to be a woman.

The next track slows the pace down a bit with OH…What a night. It’s your typical rnb song, but it does have a bit of depth. The arrangement is nothing interesting or special, and is pretty much just there. ARIA’s vocals on the other hand were pretty good and kept this song above water long enough for me to actually enjoy it.

The next track is the fresh LOVE again-200% mix. Wow… this is a very interesting title. This is a collaboration track feat. TYPE-lo. When I first listened to this song, I didn’t too much pay attention to it, but then again its not like I really paid attention to it this time around either. I’ll admit though, I do like this song a lot more than I did the first time. The arrangement is very fresh and crisp sounding, it has a flow about it that makes you want to smile fondly for no reason. ARIA’s vocals were nice, that deep depth she had shun through even though she tried to keep it relatively light. This song is pretty OK, even if it did seem to go on far longer than it should of, making it a bit tiring.

The next track on the album is the weird A Song 4 U. I did like this song when I first heard this album, but maybe I wasn’t listening with both my ears, because this song it very strange. Its down-tempo that much is obvious. The arrangement is rather unique, it sounds a bit otherworldly and its a pretty interesting concept. ARIA’s vocals are good as well, but she sings this song very strangely, I don’t know, her voice seems to drop and rise at odd moments and it throws you off. She sounds a bit strained, and says things like, ’sing-a-ling-a-ling’ or something crazy like that. It makes the song very immature, which is a shame, because if it didn’t play so awkwardly I would actually have enjoyed it.

The next track on the album is the down-tempo 話をしようよ (Hanashi wo Shiyouyo). This song really played like a breeze. The arrangement was minimal, I believe only one maybe two instruments was used, but it was so smooth and simple that it really played like a dream. Would have been a good instrumental. ARIA’s vocals were pretty good, I mean she sung the song in a breathless almost sensual whisper-like tone throughout, but it really gave forth a mood and pretty much worked. The song can get boring and impossible, but its still a nice and easy-going track.

The next track is the up-tempo (mid-tempo?) 名前呼んでIで叫んで (Namae Yonde I de Sakende). This song is pretty hit or miss. It actually went over my head, and I honestly don’t know what I just listened too. The arrangement was pretty typical, and ARIA’s vocal performance was a little irritating because of the deep tones she was using, as if she was singing out of her throat or something. This isn’t a bad song really, but its just not interesting enough to catch my attention or keep it.

The next track is the title track initial A. I always tend to like title tracks, but not in this case. The song is pretty much a chaotic mess, that isn’t really sure what it wants to be, or where to take it. The beat is a wreck, it sounded like they were banging symbols throughout the whole thing. It had a rnb vibe to it, but it could almost be mistaken for soft rock. ARIA’s vocals were, I really don’t know, just know I did not like them. Also for some reason they felt the need to add a repeated succession of: ‘oh, oh, oh, oh, oh!’ Why? We may never know, but it was pretty lame and pointless. I guess this was suppose to be a get up and dance song, but it just came across as very annoying and loud.

The next track is the endearing EXCUSE ME. I don’t know if I’m losing my mind, but I actually find myself inclined to like this song, even though I swear all I heard was ARIA singing, rather assertively: ‘excuse me’ and then an, ‘oh, oh, oh….’ or ‘ah, ah, ah…’ echo in the background. OK, I listened to the song again. ARIA’s vocals are pretty assertive in this, and I do like her tone. The arrangement is pretty basic, though I did like how it opened with the aggressive piano playing, though after that it became a bit annoying, as nothing was really going on with it. This is not a good song, at all, but I do like how ARIA is making a point–so I like it, a bit.

The next track is the pretty fun 7days. The song starts off with ARIA yelling ‘BABY!’ it immediately catches your attention, though not in a good way. Luckily it gets better. The arrangement is pretty basic, but fitting and nice on the ears. I did enjoy ARIA’s vocals in this song, the slick way she sung the verses and how the chorus was pretty catchy and fun. Its like the type of song you’d play at an intimate gathering among friends, passing drinks and having a good time. I’m getting the whole, lets party all seven days of the week vibe from this song!

The next track on the album is the down-tempo (Another 3 months) without u. I was happy to hear another slow jam on her album, because ARIA really makes some lovely slow songs. This is no exception. The arrangement is a nice soft piano arrangement that is just lovely on the ears, and gives you such a feeling of lost love and missing that love. It sounded like this one Alicia Keys song in the beginning when she was aud-libbing, her old hit If I Ain’t Got You, which was the jam back when it first came out. ARIA’s vocals were nice in this song, I can tell she was somewhat feeling the song. The rise of the chorus was interesting, I always like songs like this. Verses slow and then go all out for the chorus. This is a nice song.

The next track keeps the slow tunes coming with Breathe into the rhythm. This song is really the type of song that just drags, and sounds like a song you would record when you were high. ARIA’s vocals were very deep and soulful in this, stretching some of the words to give them more feeling, it was a very nice approach especially considering how smooth and un-hurried the arrangement was. This is the type of song that would put you right to sleep, and really it never seems to end fast enough but I found myself really enjoying this song and how laid-back and casual it was. It was somewhat sexy and sensual in a sense and didn’t try to do more than what it should. I liked this.

The next track is the quirky me & my girlfriend-home girls remix. This is a collaboration feat. Black Fly, who I am going to assume is female. This track started off on a very annoying note and I was almost certain that I was going to loathe this song by the end of it. After awhile though it really picked up and got fun. ARIA’s vocals were really great, I love the deepness of her voice and she really knows how to manipulate her tones to give off just the right emotion. I thought this was a pretty decent collaboration, the two sounded like they were having a lot of fun together and I enjoyed this song for the most part, even if the arrangement was pretty much all over the place.

The second to last track is the inspirational NEVER SURRENDER ~信じる力~ (Shinjiru Chikara). This song is in the same vein as The World’s Greatest by R. Kelly, Can’t Take That Away by Mariah Carey and let me not forget Greatest Love Of All by Whitney Houston. I thought the arrangement was very nice and majestic, and ARIA’s vocal performance was the best I’ve heard on this album. She put so much emotion and feeling into this song, that it really just goes into you, in such a powerful way. Her voice was exceptional towards the end and I adored the way it went out. This is a really great song.

The last track on the album is the down-tempo Missing. I’m not sure I paid a lot of attention to this song when I first listened to his album, but I’m glad I gave it a thorough listen this time around. The arrangement is pretty basic, but very pretty and smooth. ARIA’s vocals were really nice, she sung this song at the same consistent and slow tone/pace and it gave this song a lot of character and depth. I thought this was a really nice and quiet song.

-GRADE: B+
Rating: ** stars

ARIA’s second album initial A was a lot better this time around than it was when I first listened to this album. This is actually ARIA’s second and last album under the name ASUKA before she changed it to the much better and much more urban ARIA. When I first listened to this album I hated it, but now I actually quite enjoy it. Compared to SHINING this really is a step down, but it could have been worse. ARIA as ASUKA had some pretty strange album titles, the most odd being: X-MAN2~Saturday NightヤバFever✩~, LOVE again-200% mix feat.TYPE-Lo and Breathe into the rhythm. However I found that I enjoyed all three songs. This was a pretty interesting album, with a slice of variety and a nice length. I also gave this album bonus points for having no intros, interludes or outros–no bonus tracks either. I’d have to say that the stand-out track on this album was the very inspiring NEVER SURRENDER ~信じる力~ (Shinjiru Chikara), but I enjoyed nearly all her down-tempo tracks and found her up-tempo tracks to be very fun and catchy, even the ones that I didn’t expect to like such as: 7Days and me & my girlfriend-home girls remix. I still wish that she would have let loose more vocal-wise, but I still thought this was a solid album.

Aikawa Nanase [PRISM] (1st Digital Single)

PRISM

This is Aikawa Nanase’s first digital single PRISM. When I found out that she was finally coming out with some new material, I was ecstatic and then a bit disappointed when I found out that it was just a digital single instead of a full blown single. The arrangement has a bit of a techno flare, but its appealing in an anime insert song kind of way. I mean you could picture this song coming on in a club, with all the different colored lights flashing and everybody just dancing. Aikawa’s vocal performance was pretty decent, though it just for some reason sounded weird to me. I did like her energy and how her voice seemed to fade into the music during the chorus. I’m not too impressed with this song, its nothing I haven’t already heard from her, to be truthful. This song wasn’t bad though so I won’t complain. I mean its SOMETHING from her and I’d rather have one lone digital single than nothing at all.

-GRADE: B
Rating: ** stars

Angela Aki [TODAY] (Second Japanese Album)

Sakurairo (サクラ色; Sakura Colour)
Again
TODAY
Ai no Uta (愛のうた; Love Song)
Tashika ni (たしかに; Surely)
Silent Girl
Moral no Soushiki (モラルの葬式; The Funeral of Morals)
Otome Gokoro (乙女心; The Feelings of a Girl)
One Melody
Tomo no Shirushi (Friend Symbol)
Kodoku no Kakera (孤独のカケラ; Fragments of Solitude)
On & On
Surrender

The album starts off with the nostalgic Sakurairo (サクラ色; Sakura Colour). I have always loved this song, mostly because its so familiar. It really reminds me of coming home again after a long absence. The arrangement is really gorgeous, it gives off such a contentment and feeling of warmth. Angela’s vocals were really in tune, like you could feel how much she felt what she was saying, especially when she says, ‘zutto’ at the end of the chorus’. My favorite part of the song has to be the bridge, when Angela slows her vocals a bit, her voice sounds weighed down; heavy and it really made me connect with her. This was a solid and good start to the album.

The next track ups the pace a bit with Again. It amazes me that I did not like this song when I first listened to this album, but it is a really good song. Lovely and very intense piano playing from Angela in the arrangement, gave this track a lot of depth and atmosphere. Angela’s vocals were very desperate to me in a sense, and it really pulled me into the song. I just love the chorus, its so catchy. This is one of the songs that would be great during concerts or tours, I hope Angela takes advantage of it.

The next track is the up-tempo TODAY. This is really quite the infectious song. I mean in all truth the only thing that keeps this track a float is how terribly infectious and engaging the chorus is, you know, the repeated succession of ‘today!’ oh yeah and her kick ass piano playing in the arrangement, I loved every minute of it. I could literally picture Angela standing up her fingers ripping across the keys and just really getting into this song. TODAY is a song that can become old, pretty fast and the chorus has the tendency to become repetitive and annoying–but I seem to enjoy it more and more every time I listen to it.

The next track is the down-tempo Ai no Uta (愛のうた; Love Song). I always figured Angela would do an infamous ‘ai no uta’ song, and here ya’ go. I wasn’t too enthusiastic with this song when I first heard it, I thought it was terribly boring, lank and uninspired. I took the time to actually listen to it one day when I was going through the album and realized that it was quite a beautiful song. Angela’s piano playing is very light, but it really does its part to set a somber mood. Angela’s vocals were also gorgeous and very emotional, especially towards the end when she utters: ‘(oh) i’m callin’, callin’, callin’, callin’ your name’ this is a good, and rather under appreciated song.

The next track is the infectious Tashika ni (たしかに; Surely). This song plays a lot like TODAY, only its a lot more interesting and a lot more fun. It’s less serious than TODAY and I believe that’s why I find that I enjoy it more. The arrangement is pretty rambunctious, Angela is really getting into her piano playing, and it doesn’t let up. I can say the same for her vocal performance, a lot of the time she sounded breathless to me, and you could tell she was really feeling the song. This is a track that you can easily find yourself growing tired of, and after awhile it does become a bit dull and repetitive, but its still a good song.

The next track is the rather boring Silent Girl. No matter how many times I listen to it, I can never shake the fact that this is just one of the dullest songs I ever heard. It also seems to get even more boring every time I listen to it. The arrangement is very basic, quiet, and stagnant. It alone can lull you to sleep. Angela’s vocals are pretty OK, though nothing special. It felt as if she took this song a little too seriously, and was trying way too hard to make it emotional, and it just made the song very tedious.

Thankfully the next track ups the pace and brings me out of the stupor ’caused by the last track. Moral no Soushiki (モラルの葬式; The Funeral of Morals) is a bit on the dramatic side. I thought the arrangement was pretty dark and powerful, and added a slight edge and intrigue to the song to really pull you in. Angela’s vocals were very focused and pretty good, and seemed like she was really into the song, working hard to make the message of it felt. It seems rather religious to me, and the car screeching and the frenzied pace of the song towards the end was just really haunting to me. This is definitely a memorable song, even if it does have the tendency to become boring.

The next track on the album is the cross between down and mid-tempo, Otome Gokoro (乙女心; The Feelings of a Girl). This is another song off this album that I didn’t too much favor when I first listened to this, and even though I’ve grown to like it, it still isn’t all that interesting. The arrangement is pretty tame, but it does what it should. Angela’s vocals I did like, the sort of deep tone she used was nice and didn’t make it seem like she was running out of breath. The chorus is really the high light of the song, its pretty memorable. I adore the title.

The next track is the down-tempo One Melody. This song is pretty long-winded and boring. I mean I like the arrangement, its very pretty and soothing, Angela’s vocals are fine if not a little plain, and I like the ‘one melody’ of the chorus, but in all truth this song gets dull as soon as it starts and doesn’t let up. Its also forgettable in every sense of the word.

The next track on the album is the mournful Tomo no Shirushi (友のしるし; Friend Symbol). I get a very mournful vibe from this song. There’s not much going on with this song, it has a minimal though rather moving arrangement (it sounds a bit like Onegai), and Angela’s vocal performance was slow put still rather pretty and sad. I at first thought this song was just really boring and not really memorable at all, but it has a subtle charm about it that I like. That, and its not really a bad song.

The next track keeps the down-tempo’s coming with Kodoku no Kakera (孤独のカケラ; Fragments of Solitude). This is really a lovely song. I adored how it opened with the piano and went out with it. The twinkle like quality of it made it very wistful and engaging. Angela’s vocals were nice as well, though I did expect this song to be a lot more than what it was. It just came off as very anti-climactic to me. Still, its a good song.

The second to last track on the album is the phenomenal On&On. Angela kicks it up a notch with this song, and what a relief, because the down-tempo tracks were becoming a stupor. The piano arrangement in this song is most definitely one of her best, and you could tell she was really into it, but not only that but the song in general. Angela really put emotion into this song, and I loved every minute of it. The ‘dreams live on and on!’ part always gets me, its just such an inspirational and positive song; to always follow your dreams and your heart. This is definitely a song I wouldn’t mind hearing live, the sheer depth of it alone is enough to bring you to tears.

The last track on the album is the down-tempo Surrender. What a beautiful and absolutely heart-wrenching song. I thought the piano arrangement was gorgeous and so very melancholy. Angela’s vocals were top-notch in this track and full of so much emotion, I could just hear them spilling over. This was such a great and powerful way to end the album. I also like how she ended it with a song entirely in English like Your Love Song (which I still love better). HOME ended on a rather sad note, TODAY ends on a somewhat hopeful one.

-GRADE: A-
Rating: **1/2 stars

Angela Aki’s second album TODAY is not as good as I thought it would be, and certainly not as good as HOME was. The up-tempo songs were nice, and catchy, but after awhile had the tendency to become a bit boring and redundant. The down-tempo songs were good as well, but at the same time they seemed to go on far longer than they should have, thus making them very tedious in the process. Angela’s main instrument in nearly all of her songs is the piano, and though she plays the piano very well and the arrangements are more often than not gorgeous, it does get old and I would have liked to hear a bit more variety. Angela had some really stellar tracks on here: Sakurairo, TODAY, Tashika ni, Moral no Soushiki, On&On and Surrender. Again, Ai no Uta, Otome Gokoro, and Tomo no Shirushi and Kodoku no Kakera actually really surprised me, because I at one point really disliked them, but now I find them quite enjoyable. Silent Girl is a drag of a song, and I’ll never like it, its just way too boring and the same goes to One Melody. TODAY is a much lighter side to HOME, and though I enjoyed her debut album more, this album is still pretty damn good.

BoA [Eat You Up] (U.S. Release) ~Review+Rant

Eat you up

There’s been a lot of hype concerning BoA’s first ever English release into the states, and though the hype is founded I find myself left pretty unimpressed. I am a woman of many opinions and I’m not going to sugarcoat anything. I don’t like this song and as far as I’m concerned BoA has as much chance of making it in America as DBSK do. None. That may be a little harsh, but I’m just being as realistic as possible. Do I by chance want BoA to make it in the States? Of course. But let’s keep it real, if Utada Hikaru couldn’t make it, what in all nine hells makes anyone think that BoA has a chance?

When I first heard about this release, it pissed me off. One, because I was hoping that she was going to put out some long-awaited and highly anticipated Korean singles, possibly even an album. Two, because of all the people I’m anxious to see go into the American market BoA was not exactly high on my list, or even personally one of them. When I heard the teaser to the song, I nearly died laughing. ‘Eat you up?’ What the hell does that even mean? I mean I KNOW what it means, but who the hell goes around saying they’ll eat someone up, let alone dedicate a whole song to it? I also wondered ‘what audience is she aiming for’? The white audience? The black audience? Both? Every one? The song personally appeals to no one American. I could ask my friends to listen to this, and they’d wonder what the fuck was wrong with me. Its corny. BoA has a nice voice, so I hated hearing it so tech’d up. I mean of course T-Pain has made a hugely successful career out of the vocoder (Akon sounds like his voice is on vocoder), and a lot of artists use it from time to time, most recent being Kanye West in his newest single Locked Down, but they of course speak English fluently and that little aspect has nothing to do with them being American, there are a lot of Asians that don’t even live in America that speak fluent English (and I doubt all of them were born in the States), BoA is not one of them. Her accent is glaringly obvious and it makes a potentially decent song, absolutely ridiculous and laughable. The chorus is painful: ‘I’ll eat you up (your love, your love)!’ Ugh. Its so tasteless. It doesn’t even make any sense. I’ll eat up your love? It’s like BoA is trying to sound seductive and sexy but comes across as disgusting and whore-ish. There are a few interpretations of the term ‘Eat you up’ and no one is going to automatically connect it to love. Honestly. The most repulsive part of this song to me, and the one that always makes me cringe when I hear it is the part where she sings: ‘You look so good I could eat you up alive’ I always have this sudden urge to barf, it’s just something about that one line that disturbs me. The beat is really quite pathetic. How long did it take them to come up with this overly synthesized and techno’d to death beat? Its makes me think of something I’d hear on an 80’s break-dancing sound-track, its really quite juvenile and dated. The song all in all disappoints me greatly. I can not see myself singing along to this song, let alone enjoying it (even if the chorus is pretty catchy, I’d feel like an idiot if anyone caught me singing it).

Eat you up in my opinion would leave the American audience confused and wondering if they had been listening to an actual song meant to catapult someone to the top of the charts or a song full of pointless and tacky sexual innuendos that will most likely come across as desperate and absurd. I’m a fan of sexual songs, chocked full of innuendos or point blank sexually explicit lyrics, but not when its done in such an immature and elementary way. I want BoA to succeed, but it just doesn’t seem like she is taking this chance seriously, because this song is just really lame. I’m sorry, every one is opted to their own opinion and as it stands no one I know will even pay this song the slightest bit of attention. Though I’m glad to say that some people will and that’s good to know. I like BoA’s music, but I won’t say I like this just because of that. I feel she can do so much better. I hope her first full length English album shows that and makes me eat my words.

-GRADE: C
Rating: * star

Ami Suzuki [CONNETTA] (Fifth Album)

Aozora to Water
Alright!
Peace Otodoke!!♥ (Peaceお届け!!♥)
Dancin’ Little Woman
Hare Moyou. (ハレもよう。)
To be free
Squall ni Nurete (スコールにぬれて)
EVERYTHING TO me
O.K. Funky God
Fantastic
Crystal
Sore mo Kitto Shiawase (それもきっとしあわせ)
Like a Love?
Aishiteru Kitto (愛してる　きっと)

The album starts off with the rather whimsical Aozora to Water (青空とWater). The song starts off with this guy (Kaji Hideki?) introducing her. This almost seems like a throwback to the thirties or the fifties where they use to sing live on those variety shows I get that vibe from this song, in which makes it very homely. The arrangement was very flowing and sparkly, I really enjoyed it as well as Ami’s vocals which were very nice and seemed rather at ease. A tame way to start off the album, but its still a nice song.

The next track on the album ups the pace with Alright!. This is really your typical feel-good song, the type of song that will put a smile on your face no matter what type of pissy mood you are in. The arrangement is a bit generic and way sparkly, I mean I kept hearing these chime sounds throughout that really sounded like sparkles popping or something and its a nice touch because it gives you such a feeling of youth and vibrancy. Ami’s vocals were light in this song as well, though her voice was a bit strained. This song is pretty long and after a while you tend to realize how long it really is and you start really wishing it would end already, because at a certain point I got pretty disinterested in the track. However, the ‘let’s take me to your heart’ parts makes it worth the wait.

The next track is the quirky Peace Otodoke!!♥ (Peaceお届け!!♥). I use to LOATHE this song, I really did. I use to think it was just so stupid and never bothered to actually listen to it. My mistake, this is such a fun and engaging song. It has a bit of a rock element to it which surprised me, but I thought the guitar was a lovely and much needed touch to give this song just the right amount of energy. Ami’s vocals were really cute for some reason and it sounded like she had a lot of fun recording this. The chorus is the best part, really makes you want to get up and… sing along. A nice song for a concert I must say.

The next track is the rather bland Dancin’ Little Woman. I don’t want to get too in-depth with this song, because the faster I write this the faster I can forget about it. It has an acoustic air to it due to the minimal instrumentation, but what little there is is very much so forgettable, irritating and distracting. Ami’s vocals were even worse though, for some reason she sounded like she was drunk and trying to sing karaoke–it was just awful. I don’t know what went wrong, but this song is bad for no reason.

The next track on the album is the warm Hare Moyou. (ハレもよう。). Ami slows it down with this track and I can’t say for sure whether I really like it or not. On the one hand I like the easy-going-ness of it, it makes it a very nice listen for when you want to wind down and Ami’s vocals are really smooth despite her sounding like she has a cold or something; however, the song is pretty boring. I’m still inclined to like it though.

The next track on the album is the bland To be free. I guess this song has potential, but it just really goes over my head. The arrangement is just really quite stagnant and plays like wind, very boring wind (what?) and Ami’s vocals weren’t really all that great. The song dragged on for what seemed like forever and at one point I was debating on whether I should just go to the next track because it felt like my ears were about to bleed.

The next track is Squall ni Nurete (スコールにぬれて). This is a really interesting song, I’d have to admit. I didn’t go into it expecting it to be a ballad, it isn’t, it leans more towards down-tempo and its pretty powerful in a quiet, subtle sense. I thought the arrangement was pretty intriguing but nothing particularly memorable. Ami’s vocals were nice, but what really pulled me into this song and made me like it was the chorus towards the end when Ami holds the note its rather intense and she put a lot of emotion into it to make it felt.

The next track is the lovely EVERYTHING TO me. I really do adore this song. I love how it sounds so familiar like a person you may have known in the past but you can’t quite put your finger on just who it is. The arrangement was really nice, lovely use of the drums gave the song such a nostalgic appeal. Ami’s vocals were a bit muffled (I wonder why her voice sounds like that?) but I could really feel the emotion in her voice and it really made me connect with the song. At one point, I think towards the second verse the song tends to die out, I wonder if it was intentional? If so, nice effect. This song is pretty wistful to me, for some reason it sounds like a song you would play as a montage for someone who has passed and with the right type of imagery it could quite possible bring you to tears. The title also makes my heart ache.

The next track is the bizarre O.K. Funky God. The title alone made me uneasy and I was right to feel uneasy, because this song makes no sense. Its starts off on a nice note, like a choir, the effect was really nice and engaging–plus it sounded like the type of singing you’d hear in an anime like Death Note or D. Gray Man. However, after the nice gospel-esque beginning the song goes downhill and it crashes and burns. The arrangement is just the most basic and its boring; speaking of boring, Ami’s vocals were just the dullest, it was so monotonous and after awhile you just want to kill yourself, because this song is just so bad and warped. It reminds me of something my Jazz teacher said; ‘this is stupid’ that about sums up this ridiculous song. There’s no way God is going to get funky to this…

The next track is the surprising Fantastic. This song is pop pure and true, and honestly I don’t have any problem with that. The arrangement was awfully nice and pretty creative and atmospheric, though a bit electronica and a bit techno; I have to say though I can totally see this song being played in a gay club. Ami’s vocals were really good, she had a lot of depth in her voice and it stayed consistent letting me know she was really into the song. This track really shocked me, I did not expect it to be as good as it was, definite album favorite.

The next track is the dull Crystal. After Fantastic blew me away I actually expected to like this song since both of them seem really similar to me. Well, needless to say I didn’t. The arrangement is nice got a sparkly, crystal like quality to it that makes it a nice listen, but that doesn’t change the fact that it doesn’t really do anything. Ami’s vocals were pretty dull, that whole muffled tone was there again and it made her sound very weird–plus I thought her vocal performance was a bit uninspired. This song has the potential to be good, its not as bad as it could of been, but its just a little too boring for my tastes.

The next track is the slow-paced Sore mo Kitto Shiawase (それもきっとしあわせ). This song is rather charming. I mean it’s incredibly slow and never seems to go anywhere. The arrangement was very bare, but I kept hearing this whistle-like sound that made me think of a flute, it was nice. Ami’s vocals are a bit innocent in this and she never does anything with her tone she just keeps singing it at the same pace and that got a little frustrating. This song gives off a very wistful air and made me think of walking in a big city on a windy day just glancing around. It gives you this isolated and yet hopeful feel. Its a song that can get boring and in a sense it is boring, but I like it.

The next track is the pretty tame Like a Love?. I finally came across a name I do recognize (well other than HAL) and that name being Otsuka Ai! This actually does sound like it could be an Otsuka Ai song and that is what really drew me in and made me connect with this track. Its pretty down-tempo, but I thought the arrangement was interesting even if it did make me feel utterly isolated. Ami’s vocals were really nice, I like how she sung this song in an un-hurried sense, staying consistent and not making it a tedious listen.

The last track on the album is the endearing Aishiteru Kitto (愛してる　きっと). This song reminds me so much of her DOLCE song Futari wa POP for some reason, even though the songs aren’t really all that similar it just gave me that same care-free vibe. This song is really quite interesting, I thought the arrangement was nice and Ami’s vocal performance was good, but it wasn’t that, that really drew me into the song–It was mostly the whole flow and atmosphere of the track. It was all so very sad to me, but very comforting in a sense.

-GRADE: B
Rating: ** stars

Ami Suzuki’s fifth album CONNETTA really surprised me… in a good way. This is her first full blown collaboration album and I must say she chose some top-notch people to work with, because these are some pretty good songs. Yes, I really hate O.K. Funky God but maybe it just wasn’t a good day for Buffalo Daughter???? Anyways, I did enjoy this album a whole lot more than I thought I would for this review and its almost crazy because after INFINITY EIGHTEEN VOL. 2 Ami’s music style changed so drastically I found my interest in her fading to the point where I wasn’t even going to try and keep up with her music anymore, because everything just screamed desperate and lazy. DOLCE changed my mind, but after being a bit unimpressed with her last two post-DOLCE singles I’m sure I’ll find my interest in her wanning again, especially if she’s content to stay on the techno bandwagon. CONNETTA was a huge step up from her previous album AROUND THE WORLD and in truth I wouldn’t mind hearing a CONNETTA pt. 2, but then again… maybe not.

Angela Aki (Tegami ~Haikei Juugo no Kimi e~ (手紙 ~拝啓 十五の君へ~; Letter ~To You, at 15~)] (8th Single)

Tegami ~Haikei Juugo no Kimi e~ (手紙 ~拝啓 十五の君へ~; Letter ~To You, at 15~)
final destination
Still Fighting It
Tegami ~Haikei Juugo no Kimi e~ -strings version- (手紙 ~拝啓 十五の君へ~; Letter ~To You, at 15~)

Angela Aki’s 8th single starts off with the a-side Tegami ~Haikei Juugo no Kimi e~ (手紙 ~拝啓 十五の君へ~; Letter ~To You, at 15~). I knew from the moment I read the title that this was not only going to be a moving song, but a good one as well. Angela never seems to disappoint me when it comes to quality and this song definitely delivers. The arrangement as it stands is your typical Angela fair: the piano. I mean what is a truly good Angela Aki song without her piano? I love the piano arrangement in this, its very slow and sure, nearly church-like and gives off a feeling of nostalgia and remembrance. I did enjoy Angela’s vocal performance, though it was not as strong as I would have liked she still gave it her all and I’ve always respected her for that. I thought the clapping segment was a nice touch, it really was and if you had found yourself growing disinterested with the song that part would have most certainly pulled you back in. This is another memorable song to add to Angela’s collection, because its so very poignant and relevant; for the record I really would like to write a letter to my fifth teen year old self, I find myself missing that girl.

The next track on the album is the b-side final destination. I think I like this song more than the a-side, though I’m not going to say its for sure. Of course this song has the customary Angela and her piano, but its still such a nice arrangement very calming, but at the same time it makes you a little anxious as well. I did think Angela’s vocal performance in this song was a little better than it was in the a-side, if only because she sounded less like her voice was going out and more assertive. I love how this song gives off the whole vibe of you going somewhere, somewhere important and no one is going to get in the way of you getting there. It has such a finality about it that really absorbs you and makes you connect fully with the song and its title: ‘(Oooh) drivin’ in my car’.

The next b-side is a cover of a Ben Folds song Still Fighting It. I listened to the original song and found that it was pretty nice, afterward I listened to Angela’s cover of it. I was surprised that she decided to sing it in Japanese instead of in English, but the end result was a very good one. She really did this song justice; such emotion and feeling she put into this track and I actually prefer this version over the original.

The last track on the album is the lovely Tegami ~Haikei Juugo no Kimi e~ -strings version- (手紙 ~拝啓 十五の君へ~; Letter ~To You, at 15~). Could this song get anymore beautiful? This version is much more slow-paced than the original and I of course liked this just as much as I liked the original. The only thing I didn’t like was the fact that they took out the whole clapping segment and the ‘la,la,la’s’ during that part was a little more than annoying; all in all this was still a good version of a good song.

-GRADE: A+
Rating: *** stars

Angela’s Aki’s 8th single Tegami ~Haikei Juugo no Kimi e~ was just what I expected it to be, fucking good. I knew I missed Angela Aki but I didn’t know just how much until this single came out and I listened to it. Angela is a very inspiring person with a lot of depth and that is why I enjoy her music so much it always has something to offer, her music always has a purpose. I can’t wait to hear more new material from her, she never gets old.

Aikawa Nanase [Crimson] (Third Album)

Oooo
Nostalgia
Sayonara Wo Kikasete
眠れない夜 (Nemurenai Yoru)
Night Wave
Bad Girls
Fragile
Velvet Moon
たまんない瞬間 (Tamannai Shunkan)
彼女と私の事情 (Kanojo to Watashi no Jijou)
優しいうた (Yasashii Uta)

The album starts off rather loudly with Oooo. I actually couldn’t stand this song when I first heard it, but upon this umpteenth listen I think its finally managed to grow on me. Its your typical head banging tune with a loud bass blaring everything and Aikawa crooning oh so wonderfully into the mic. Its a nice song to just cut loose to at a party when you’re drunk off your ass and just want to flail around a bit.

The next track on the album is the up-tempo Nostalgia. I actually expected this song to play like a ballad, but as usual Aikawa didn’t go down that route and this song is just as hard-hitting as the previous track. The arrangement is really edgy I’m guessing I heard electric guitar in the beginning; synths, keyboard? I hate not being instrumental savvy, but still the beat was nice and edgy. Aikawa’s vocals were great especially during the chorus when her voice got kind of high, she seemed really into the song throughout. There is a bit of strain or it could be because Aikawa’s voice just sounds like that. Its a typical rock track with bad ass written all over it; I love it.

The next track on the album is the easy-going さよならを聴かせて(Sayonara o Kikasete). I thought this track had such a nice flow about it and played almost like a ballad. I thought the arrangement was very flowing and a welcome relief from the blaring rock of the previous two tracks. Aikawa’s voice was really gorgeous and did this song a lot of justice, they weren’t rushed at all but very fluid and somewhat throaty. It has a very sad vibe to me that I really can’t shake and it makes the song a touch tear-jerky.

The next track is the down-tempo 眠れない夜 (Nemurenai Yoru). This song is absolutely beautiful and the first real ballad on the album. Aikawa does incredible rock songs, but in all truth she does even more so on her ballads always making them so touching and sincere. The arrangement was gorgeous and made me picture water crashing against the shore on a bleak day. Aikawa’s vocals were very slow and wistful and it brought such a longing and melancholy to this track that really pulls at the heart-strings and makes you want to cry or shed a tear. This is my favorite Aikawa Nanase song, its one of those songs that just touches me completely and makes me think: ‘good-night love, go to sleep…’

The next track is the brief interlude Night Wave. It consists of a simple melody slightly pretty but very repetitive; it ends rather abruptly.

The next track is the odd Bad Girls. The previous interlude transitions smoothly into this song, which is a bit experimental sounding to me. The verses are a tad forgettable, but I did like the whole fade out thing during them. The chorus is the highlight of the song where Aikawa shouts out, ‘bad girl!’ its all really endearing. The arrangement is pretty cool, but its very monotonous and never does much but what it should. I enjoyed Aikawa’s vocals. This song is pretty hit or miss, I didn’t like it the last time I listened to this, but I did find myself enjoying it for this review.

The next track on the album is the lank Fragile. While listening to this song I kept getting a chill, like it was suddenly very cold or freezing. The arrangement has a very windy and bleak quality to it that really gave off that atmosphere. Aikawa’s vocals were a bit uninspired and in a sense sounded like she had a cold, because for some reason she sounded a little muffled to me. This song is really boring and just drags on for far longer than it should; the way the song went out as well was a bit blank and awkward.

The next track is the irritating Velvet Moon. I’ve learned long ago that just because you like the title to a song does not mean you are going to like the song. This is a perfect example of that. The arrangement played like static and just managed to annoy me throughout, because it was so chaotic and all over the place, even for a rock song. Aikawa’s vocals were very baseless and it was like she was screaming without actually screaming and it made everything very unoriginal and stale. This song fails.

The next track on the album is the ear-bleed inducing たまんない瞬間 (Tamannai Shunkan). This song is just awful and I thought Velvet Moon was fail. This song seems like some sort of anthem at the opening of a concert where you try and get the crown moving, but it all plays like a drunken speech at some sort of sleazy College party. The arrangement plays like muffled static and Aikawa’s vocals are so bad they are laughable. I don’t know what possessed her to even record this song let alone put it on her album, but there you go.

The up-tempo rock tracks keep coming with 彼女と私の事情 (Kanojo to Watashi no Jijou). This song is not really one that would be all that interesting since the verses are pretty so-so and the arrangement is your typical Aikawa rock arrangement. The chorus is where this song shines, it’s actually quite catchy, engaging and fun and made this song a lot less dull than it could of been.

The last track on the album is the down-tempo 優しいうた (Yasashii Uta). This is a pretty decent song, but at the same time its very boring. The arrangement is pretty lank and dull and has this vibe that can if you’re tired enough lull you right to sleep. Aikawa’s vocals are pretty slow-paced, but they do stay consistent if not a little stagnant and draggy. I thought this was a nice song, but at 6: 22 its entirely too long for a song that doesn’t have a lot of substance.

-GRADE: C-
Rating: * star

Aikawa Nanase’s Third album Crimson is even more mediocre than I had originally thought it was. When I was first getting into her music I actually did like this album, but going back to it I found my interest in this album fading to the point of me just wanting to forget that this is a serious part of her discography. This album offers nothing we haven’t already heard, only she offers it to us in a worst package. The album is way too short for the majority of the songs to be so lackluster; if you’re going to have a ten track album (excluding the interlude) at least put in the effort to make the songs good. The only song on this album that was really worth something was Nemurenai Yoru (and Sayonara o Kikasete and  Nostalgia which were both pretty good songs) and that song alone kept me from giving this album a D. The rest are just passable or forgettable. Crimson is most likely my least favorite Aikawa Nanase album; I was not impressed.