Utada Hikaru [First Love] (3rd [12cm] Single)

First Love
First Love (featuring David Sanborn)
First Love (Strings Mix)*
First Love (John Luongo Mix)

Utada Hikaru’s 3rd single starts off with the a-side First Love. This is not only my favorite song by Utada Hikaru, but its my favorite Japanese song period. This was the song that single-handedly started everything for me J-Pop wise. The piano arrangement is so gorgeous in its melancholy; soft and sweeping, rising during the right parts and playing softly in the background otherwise. It gives you this feeling of isolation and remembrance of a love long gone. Utada’s vocals were so emotional and heart-wrenching. It was as if she was picturing this first love of hers in her mind and singing to him, hoping that by some miracle he would hear this and know that he will always be in her heart and that she’ll never forget him. ‘The first kiss tasted like tobacco, a bitter and sad smell…’ this is my favorite line in the song. I also love the, ‘you are always gonna be the one’ and ‘you will always be inside my heart’ this is one of those rare songs that just stick with you, forever. I just love the whole, ‘you will always be my first love’ thing, because you only love like that once.

The next track on the single is a feat. version of the a-side, First Love (featuring David Sanborn). There’s no longer that lonely piano piece, but a saxophone that plays so good, and I think that would be this David Sanborn who is featured in the song. I really like this version, because the saxophone fits in so well with Hikki’s vocals. Nice.

The next track on the single is an instrumental, First Love (Strings Mix). I don’t include these, but I felt I had too since it doesn’t say ‘instrumental’ or ‘karaoke’ at the end. This is a strings version of ‘first love’ and I’m curious as to why Hikki decided to make it the third track instead of saving it for last. Its still quite beautiful though.

The last track on the single is a remix, First Love (John Luongo Mix). I really dislike remixes, duh. I find that I really like this one, and I always have. Its a lot less sad and a bit more hopeful. The arrangement is pretty upbeat and refreshing, and Hikki’s vocals sound a bit distorted but otherwise fine. I thought her vocal performance was a little sad, especially towards the end. Still, this was a nice remix. I still would have preferred the single to end with the strings mix though.

-GRADE: A+
Rating: **** stars

Utada Hikaru’s 3rd single First Love is really solid. I mean, I don’t normally like every song on a single, but I found all the tracks on here, even the instrumental and the remix to be good and worth at least one listen. I don’t know, maybe I’m being biased especially since this is the first perfect score I’ve given since I started reviewing, but I love this song, and this was a really good single. I mean Hikki is probably the only person that can make a single with the same song on it, just different versions of said song, play so good.

Shimatani Hitomi [Gate~scena III~] (Third Album)

overture ~Perseus
太陽のワナ (Taiyou no Wanna; the sun’s trap)
C’est la vie!
トラキアの女 (Torakia no Onna, Thracian Woman)
赤い砂漠の伝説（ (GATE Version) (akai sabaku no densetsu; legend of the red desert)
HARVEST MOON
Mirage ~BOY, I am a girl~
bella flor
Take me home
元気を出して (Genki wo Dashite, Cheer up)
月影のエデンへ (Tsukikage no Eden E, to a moonlit Eden)
J.U.M.P.
いつの日にか・・・（GATE version） (itsu no hi ni ka…, someday)
Perseus (HEAVENS WiRE vs. TRI-HEDGE RMX)

The album starts off with the sweeping overture ~Perseus. No matter how many times I listen to this song, I always think its an intro and then when it goes into the song, it just never fails to blow me away. The arrangement is so lively and fresh, and succeeds in keeping you interested and engaged. Shimatani’s vocals are great, she brought such life and personality to this song. It just gives you such a feeling of being free. This was a really good start to the album.

The next track on the album is the up-tempo 太陽のワナ (Taiyou no Wanna; the sun’s trap). This is such a lively song. The arrangement has such a Spanish flare, and that really makes it stand out, because there’s just so much variety and it stays consistent and up-beat. Shimatani’s vocals were great, I never really have a problem with her voice, and she certainly carried this song. I also loved how she seemed really into it, especially during the chorus.

The next track on the album is the light C’est la vie!. This is a pretty tame song, I actually expected it to be more grandiose than it was, but I think it played just fine. The arrangement was very festive, and fills you with such a good feeling that makes you want to go out and have a good time. Shimatani’s vocals were pretty mild in this song, but she sounded so good, singing this song in such a casual and free way. This was a really nice track.

The next track on the album is the not really down-tempo but somewhere around there, トラキアの女 (Torakia no Onna, Thracian Woman). This song was pretty light, just like the previous track was, but the difference is this song is a lot less interesting. The arrangement is nice, appropriately sparkly but nothing that ‘wow’s’. Shimatani’s vocals are quite pretty. The best part about this song is the chorus, which is really nice on the ears.

The next track on the album is the mid-tempo 赤い砂漠の伝説（ (GATE Version) (akai sabaku no densetsu; legend of the red desert). This is another song that has a nice Spanish flare to it. The arrangement isn’t all that interesting but its fitting. Shimatani’s vocals were nice, but she sang this song in such a straight-forward way, and I wish she would have played with it more, or at least sounded like she was enjoying herself. The chorus is the best part, but the verses aren’t bad either.

The next track on the album is the lively HARVEST MOON. This was a pretty fun song. I really liked how quick the arrangement was, and of course like the majority of Shimatani’s music is, very Spanish-flare-y. I also love the variety, there’s so many things going on in the arrangement to keep you interested. Shimatani’s vocals were very light and casual and sounded like she really enjoyed singing this and that certainly bumped the enjoyment factor up. This song can get annoying, and honestly I don’t know why, it just depends on what mood you’re in while listening to it.

The next track on the album is the kick-ass Mirage ~BOY, I am a girl~. I love this song, its my favorite Shimatani song, hands down. The way the song starts an ends was such a nice touch. The arrangement sounds so Western and it made me think of being lost in the desert. Shimatani has such attitude in her voice, and I love when she says: ‘boy! I am a girl!’ At certain points in the song, when her vocals speed up a little, it sounds like she’s singing in Spanish. This song is just the love.

The next track on the album is the up-tempo bella flor. I don’t know why I find myself so indifferent towards this song. Though it could be because I expected in to be more Beauty in the Beast a la Hunchback of Notre Dame-ish. I mean, sweeping, elegant… beautiful. The arrangement is very dramatic in a festive sense, it had a lot going for it and certainly kept my interest. Shimatani’s vocals were fine, I like how she seemed to get into the song during the chorus, but its not a vocal performance from her that particularly stands out. I wish this song would have went a different, more sad ballad or everlasting love type route, but I found that I still quite enjoyed it.

The next track on the album slows things down with Take me home. I really adore this song. I love how it started of f with the birds chirping, it gave off such a peaceful air. It goes into the rather sorrowful guitar arrangement, that gives you a feeling of adept loneliness–that feeling of isolation that comes from the arrangement and Shimatani’s wistful vocal performance really gives you the feeling of wanting to go home. ‘Take me home, take me home’ when Shimatani sings that, I find that I can really connect with her, because she puts the right amount of emotion into her voice to make you feel what she is saying. Underrated track (like most of the songs on here). I love how it ends with the piano.

The next track on the album is  元気を出して (Genki wo Dashite, Cheer up). This isn’t an overtly interesting song, but I think I just like the way Shimatani chose to sing this song. The arrangement is rather fitting, and I kind of liked the horn? solo towards the middle of the song. I thought it was a saxophone at first, but it wasn’t. Shimatani’s vocals are nice, she sung this song in a casual ‘get happy’ type way, and it really made the song stand out in a sense, even if does intend to become a little draggy as it goes along.

The next track on the album is the atmospheric 月影のエデンへ (Tsukikage no Eden E, to a moonlit Eden). I really got a ‘moonlit’ vibe from this song, if that makes any sense. I mean I can just picture Shimatani singing this with her back to the moonlight, it makes for some gorgeous imagery. The arrangement is pretty interesting, quick in a sense but consistent and fitting. Shimatani’s vocals were nice, she sung this song in a very sure way and it gave me the impression of someone singing lead in a play or opera. I didn’t too much like this song at first, though I thought it was good. I’m still not very sure, but I’m almost certain it’ll grow on me.

The next track on the album is the up-tempo J.U.M.P.. This song is really quite annoying. The arrangement is very fast-paced, which based on the title, isn’t really all that surprising, but its so frenzied that it makes you feel like you’re on some sort of acid-trip. Then when it doesn’t sound wonky, its grating to the point of making your ears bleed. Shimatani’s vocals are fine, they’re actually the best part of this song, but its just all so contrived, and at points Shimatani sounded a bit uncertain. Her voice just doesn’t suit sugar-high songs like this.

The second to last track on the album is the festive いつの日にか・・・（GATE version） (itsu no hi ni ka…, someday). This song sounds a bit airy, and has the tendency to become annoying, but I think its a decent song. The arrangement is interesting in a bland kind of way, and seems very loud to me for some reason. Shimatani’s vocals were good, though I just found her voice to be a bit much. This song is good in its own right, but I find that I can’t really be bothered with it. I listened to this song three times, and not once did it manage to hold my attention.

The last track on the album is the annoyingly pointless Perseus (HEAVENS WiRE vs. TRI-HEDGE RMX). This remix was so unnecessary and messed up the whole flow–terrible way to end such a good album.

-GRADE: A
Rating: *** stars

Shimatani Hitomi’s third album Gate~scena III~ is quite possibly my favorite Shimatani album. I’ve loved it from the first time I ever listened to it, and I still love it now. Shimatani is one of those rare artists who always come out with top-notch albums. I mean not one album from her has disappointed me, well Flare was a pretty downer of an album. It just seemed like her heart wasn’t in it, which was a shame, because that could have been a good album. This album made me think of a Western, I mean the whole vibe of this album was Old West, and it was just such a good listen. Shimatani has some incredible and epic songs under her belt, so it just blows my mind that she’s not a good seller. It just reinserts my belief that people just don’t appreciate good music. I loved the majority of the songs on here. It started on a strong note, and unfortunately ended on a pretty weak and forgettable one. Gate~scena III~ is a great album and the only reason why I didn’t give it an A+ is because its a little on the safe side. Shimatani usually comes more grandiose than this, but in all truth she has some great up-tempo, mid-tempo and down-tempo songs, stand out being Mirage ~BOY, I am a girl~. This (and Shimatani in general) is for those who like to hear something a little different every once in a while.

Shimizu Shota [HOME] (1st Single)

HOME
Music feat. Boy-Ken
Miss You

Shimizu Shota’s 1st single starts off with the a-side HOME. I was so blown away when I first heard this song, and so very touched at the same time. I immediately thought: ‘I have to hear more from him!’ I’ve been following his music ever since, and ‘ashiteru’ certainly solidified that. The arrangement starts off with such a heart-breaking piano melody, that always make me feel sad and lonely when I hear it. The arrangement then transitions smoothly into the bass, and retains a thoughtful quality throughout. Shimizu has such a good voice, I mean ‘wow’ I just did not expect this guy to sound so good, and he just blows my mind, especially during the chorus and the ad-libs towards the end of the track. This song really makes me reflect on my youth and my past, and it always makes me feel so regretful. I always have a sudden urge to cry when I hear ‘home’ but I hold it all in. Shimizu couldn’t have picked a more better and fitting song to debut with, seriously.

The next track on the single is its first b-side Music feat. Boy-Ken. Er, was that guy like talking in a Jamaican accent in the beginning? I don’t get this song, and I don’t really like it all that much either. The arrangement sounds very island-y and tropical, which should be fun in refreshing, but I got such a ‘trapped on a deserted island’ vibe from it. Shimizu’s vocals sound nice, though he appears to be trying to do too much with it and he comes across as sounding very weak. He should have went for a more relaxed and carefree tone. Boy-Ken’s part meshed well but it was unnecessary. This is a pretty forgettable song.

The last track on the single is its second b-side Miss You. I like this song, but then again I don’t like this song. I like it, because its a nice little rnb down-tempo track, with a fairly good arrangement and a sincere vocal performance from Shimizu. I don’t like this song, because it doesn’t really play like an rnb tune; the arrangement is plain and unmemorable and I just felt like Shimizu could have done more with this song to make it stand-out. Instead it just seems to flare and die out. I do like the: ‘i still miss you, baby’ parts though. I don’t know, it could have been much worse.

-GRADE: B
Rating: ** stars

Shimizu Shota’s 1st single HOME was pretty underwhelming. HOME is of course a stand-out track, and if this had been the only song on the single I would have given it an A+ for sure. Its just too good of a song not to. Music fell flat, which is a shame, because it could have really been a fun and fresh song. Miss You is a bit weak and forgettable, and I normally go for songs like that, but I just really felt nothing while listening to it. HOME –the a-side that is– stands out, too bad its preceded by two lack-luster b-sides.

Se7en [Just Listen] (First Korean Album)

Intro feat. Perry & G-Dragon
I Just Wanna Be…
와줘 (Wa Chweo, Come Back to Me)
한번 단 한번 (Han Bon Dan Han Bon, Once, Just Once)
One To Ten
아쉬운 이별 (Ah Shwi Oon Ee Pyol, Sad Parting) feat. Wheesung
Seven (interlude)
우연히 널 봐도 (Oo Yon Hi Neol Pwa Doh, If I Happen to See You Again)
Luz Control feat. Wheesung & Lexy
Baby I Like You Like That
꽃을 들고서 (Got Seul Deul Ko Seo, Holding Flowers)
안녕 (featuring Gummy) (Ahnnyong, Goodbye)
더 멀리 떠나요 (Toh Mol Ri Doh Na Yo, Leave Me Far Away)
너이길 바래 (Neo Ee Gil Pa Rae, I Hope It’s You)

The album starts off with Intro feat. Perry & G-Dragon. ‘When you hear se7en, turn it up!’ that was pretty interesting. The brief raps from Perry and G-Dragon were nice as well. Its a pretty rhythmic intro.

The next track on the album is the light I Just Wanna Be…. I have always liked this song, it is just so cute to me. The arrangement is really fitting and nice, for a song like this. Not exactly pop, but not rnb either, maybe a mixture of the two. Se7en’s vocals were pretty casual, and he pulled off a decent vocal performance. The chorus is the high light, but the pointless break in the middle of the song, is just annoying.

The next track on the album is the down-tempo 와줘 (Wa Chweo, Come Back to Me). This is I think the first Se7en song I ever heard, this or Passion. I love this song, I never get tired of it, its great. The arrangement is so romantic, but sad romantic, and you just know that it isn’t going to end well. Se7en’s vocals are pretty strong throughout in this song, but not in a way that it seems like he’s trying too hard. The best part about this song, besides everything, is the line Se7en says before the song ends, that one line just always gets to me, his voice! This is I believe my favorite Se7en song, it just never gets old.

The next track on the album is the light 한번 단 한번 (Han Bon Dan Han Bon, Once, Just Once). This is a more tamer version of I Just Wanna Be… in my opinion. The arrangement is light rnb, nothing much to write about really. Se7en’s vocals on the other hand were really good. The one thing that stands out about this is the chorus, its honestly the only reason I enjoy this track so much.

The next track on the album is the bland One To Ten. Why do I like this song, its so uninteresting? The arrangement is so basic, but its so consistent and just fits in with the whole flow of the song. Se7en’s vocals are good, though, to me, he sounded a bit bored throughout, because his vocal performance was pretty uninspired. I like the chorus, it pretty much saves this song from fail, that and its not really as bad as I make it out to be.

The next track on the album is the down-tempo 아쉬운 이별 (Ah Shwi Oon Ee Pyol, Sad Parting) feat. Wheesung. This song is pretty uninteresting as well, but Se7en adds his own personal charm to this that makes me like it, that being his good vocal performance during the chorus. The chorus is the whole reason why I like this song. Also, I don’t recall hearing Wheesung at all.

The next track on the album is an interlude Seven. Is anyone surprised? Oh, this was hilarious: ‘you gotta have SE7EN in your life to be right!’ What?

The next track on the album is the bland 우연히 널 봐도 (Oo Yon Hi Neol Pwa Doh, If I Happen to See You Again). I’m a fan of Se7en’s ballads, but this is just all wrong. The arrangement is just there to give the song something to stand on. Se7en’s vocals are fine in a sense, but he sounds so uninspired to me. This song also plays awkwardly, like, what’s with that? I like the title though.

The next track on the album is the club number Luz Control feat. Wheesung & Lexy. This is one of those songs that when it comes on you’re compelled to say: ‘oh! this my sh–!’ I really felt like saying that, because the beat is just so addictive, seriously. You’ll like this song for the beat alone. The verses were a bit typical, but the chorus is really where the song jumps off, and it manages to keep your attention throughout. Wheesung, I actually heard him in this song, though I don’t recall hearing Lexy. There was this one rap though that sounded like it could have been G-Dragon when he was younger–maybe that was her, but I really hope not. It was probably Wheesung, though I hope it wasn’t him either.

The next track on the album is the juvenile Baby I Like You Like That. I say juvenile, because it really just sounds so Junior High. I mean: ‘baby i like you like that’ its just really corny, and the song after a while gets annoying and boring. Se7en’s vocals are fine, but he did sound a bit odd to me. The arrangement is so basic it hurts. This is a song that becomes dis-interesting fast. I was just ready for it to be over.

The next track on the album is the heartwarming 꽃을 들고서 (Got Seul Deul Ko Seo, Holding Flowers). I really adore this song, its just so lovely. The arrangement is very warm, and compliments Se7en’s vocals, if not enhances them. Se7en’s vocal performance was nice and soft, rising only slightly on certain parts. However, it wasn’t a very strong vocal performance, and though this song doesn’t ask for much, I was hoping for a little more emotion, since at the end of the day this is a very touching song. The arrangement definitely shines, and the chorus.

The next track on the album is the down-tempo (Ahnnyong, Goodbye) feat. Gummy. This was a pretty good collaboration. The arrangement is really your typical, sad rnb croon-beat, but it fits so nice with the whole flow of the song. Se7en’s vocals were good, but I really think that Gummy out shun him with her part, her tones were just so good. This is a nice track, with a high light of a chorus.

The second to last track on the album is the sorrowful 더 멀리 떠나요 (Toh Mol Ri Doh Na Yo, Leave Me Far Away). I was like half a second away from just saying I don’t like this song. I mean it starts off good enough, the beat is fitting, though it sounds like the previous beat just a lot more clearer and not so much in the background. Se7en’s vocals were nice during the verses, and really nice during the chorus, which makes this whole song. I’ve always liked this track, but I’ve never really noticed how long it is, I mean towards the latter half it just seems to drag on and on, with no end in sight. I mean that’s fine an all, but this isn’t really a strong ballad. It dragged the enjoyment down, and made this song almost impossible for me. I’m a sucker for ballads, and despite the length, I still like this song.

The last track on the album is the piano-driven 너이길 바래 (Neo Ee Gil Pa Rae, I Hope It’s You). I’ve always liked this song when I would listen to it, not so much so this time around. Its pretty boring. The main and seeming only instrument is the piano, and its so basic I found that I could care less about it. Se7en’s vocals are fine, but he just isn’t doing much of anything with his voice and I found myself feeling such a disconnect. The vocal performance was just so very uninspired. The song ends and you barely even notice, not a good end to the album.

-GRADE: B
Rating: ** stars

Se7en’s first Korean album Just Listen was both good and bad. I’ve always liked the quiet vibe of this album, it always made it such an endearing listen. I mean even the songs that were suppose to be up-tempo came across as pretty mellow. I thought Se7en displayed some good vocals throughout, mostly during the down-tempo songs, but I do like how he put a little attitude into his tones during the mid-tempo and up-tempo tracks. I don’t like how seemingly unmemorable this album is and how it seems to play like a record lost to time. There just isn’t enough going for it to make it very relevant. Its his highest selling album and I won’t complain about that, because this wasn’t a bad album, its just rather forgettable. Just Listen is still one of my favorites, because I just love the slow and sure approach of it, but I’m disappointed in how safe and average it is.

Shimatani Hitomi [Ōsaka No Onna (Woman From Ōsaka)] (1st Single)

Ōsaka No Onna (Woman From Ōsaka)
Kaze no Machi

Shimatani Hitomi’s first single starts off with the a-side Ōsaka No Onna (Woman From Ōsaka). This song definitely sets a mood. I didn’t like this song when I first listened to this single, honestly I don’t even think I really listened to this song, but I had no idea then that it was an Enka song, so that must be why I didn’t really pay attention to it, because at that point, it just sounded way too weird for me. I’ve been getting myself acquainted with this genre of music, and find that I really like it, if sung right, because it really plays like opera, and you either like it or you don’t. The arrangement is very powerful in a quiet way; the violin, the drums, base, it all comes to together to give off the impression of something infinitely sad, moving and so very touching. Shimatani’s vocals as well, which just blew me away, they were so good. It reminded me of one of those openings or endings you might hear on one of those old school animes like Candy Candy or 3,000 Leagues In Search of Mother. This song could really bring you to tears, because it is just so beautiful in its poignancy.

The next track on the single is the b-side Kaze no Machi. If the a-side sounded like an opening theme, this is definitely the ending theme. They also sound similar, but the difference is in the tones. I didn’t get such a sad vibe from this song, its sad, but not as sad as the a-side. It sounds like a, ‘i can let you go but i’ll always love you’ type song. Shimatani’s vocals were great, she really has the voice for this type of music, and I really wish she would have done more with it, maybe go back to this genre sometime in the near future and let us see what more she can do with it, because these two songs really blew me away.

-GRADE: A
Rating: *** stars

Shimantani Hitomi’s 1st single really blew me away, I mean really blew me away. Ōsaka No Onna is gorgeous in its melancholy and Kaze no Machi is gorgeous in its nostalgia. I’m a bit disappointed that this single didn’t take off, thus forcing her to drop the whole genre all together, but at the same time, I’m not surprised.

Rurutia [Meme] (Fourth Album)

Dancing Meme
tone
リラが散っても (Rira ga Chitte mo; Even if the Lilacs Die)
Primary (album ver.)
シグナル (Signal)
スカーレット (Scarlet)
セレナイト (Selenite)
ヒースの楽園 (Heath no Rakuen; Paradise in the Heath)
青い薔薇 (Aoi Bara; Blue Rose)
蝶ノ森 (Chō no Mori; Butterfly Forest)
コバルトの星 (Cobalt no Hoshi/Cobalt Stars)
Sleeping Meme

The album starts of with the lively intro Dancing Meme. Its a pretty interesting intro, that makes me think of a Disney movie, particularly Beauty and the Beast and gliding across a ballroom floor.

The next track is the calm tone. I don’t really get this song, and I think that no matter how many times I listen to it, I never really will. That’s not a bad thing, and I think that’s why this song works, because that aspect of it certainly makes it interesting. The arrangement is a pretty mellow drum and bass arrangement that gives off a very thoughtful air. Rurutia’s vocals are a bit taxing, but if you can ignore how her voice always seems to sound like its going out (but still manages to sound pretty and fragile), this is a good listen.

The next track on the album is the windy リラが散っても (Rira ga Chitte mo; Even if the Lilacs Die). This song sounds very airy. Oh, when this song first started it really tripped me out, because it sounded so country, I think it was a violin but I’m really not sure. It grows on you after awhile and sounds pretty nice. Rurutia’s vocals were thankfully very much so controlled, and the song flowed along like water down a stream. Its a really nice yet odd little song. It also sounds very nostalgic.

The next track on the album is the epic-sounding Primary (album ver.). I actually thought this was a interlude, because it started out with sighs and a piano and then it fades. It picks right back up though and eventually goes into the song. The arrangement is really the high light, its so sweeping and sounds like something you would hear in an opera hall or concert hall. Rurutia’s vocals were soft and whisper-like, she kept the song going, but it was nothing to write home about. I didn’t expect much from this song, and it doesn’t really give me much, but its still a nice listen.

The next track on the album is the mid-tempo シグナル (Signal). This song really surprised me, it was pretty up-beat and coming from Rurutia that’s a rare treat indeed. The arrangement like most of Rurutia’s arrangements are: odd and exotic. Her vocals this time around meshed perfectly. I mean it really gives you the feeling of a signal.

The next track on the album is the oddly irritating スカーレット (Scarlet). I actually thought I was going to like this song, and for a minute I did. The arrangement is the only interesting thing about this song, really. It plays like electrified air, like electricity crackling along the currents of the air. Its weird, but a good listen. Rurutia’s vocals are pretty irritating. I’m not sure how she managed this, since her voice was mostly soft throughout, but it was just something about her tone that made my head feel like it was throbbing. Its also really forgettable.

The next track on the album is the airy セレナイト (Selenite). This is a pretty dull song, and I mean dull to the point that it’ll drive you to frustration, because no song should play so pointlessly. The arrangement is nice in its own way, but its still a bit bland and simple, and the ‘oh’s’ seem to only be there to make it seem more interesting than it actually is. Rurutia’s vocals sound very grating, because its like she can’t seem to settle on one tone, so she just goes high and low every other second, its all just really annoying. NOTE: I listened to this song twice more after this review, its not as bad as I made it out to be, its a decent listen. However, I still don’t like it, its too long-winded for me.

The next track on the album is the somewhat up-beat ヒースの楽園 (Heath no Rakuen; Paradise in the Heath). This song really surprised me, and sounds very familiar, chorus-wise. The arrangement is a bit funky and rhythmic and I really liked it, it definitely kept me interested in engaged in the song. Its also weird how Rurutia’s voice is so soft and fragile but she still managed a bit of attitude during the chorus.

The next track on the album is the desolate-sounding 青い薔薇 (Aoi Bara; Blue Rose). I can’t remember ever really listening to this song, so for this review I had to listen to it twice, because the first time it sounded so unmemorable, and with songs I’m unsure of or I think has promise or I just want to see if I really dislike or not, I listen to them more than once. The arrangement was really interesting, I enjoyed the sort of hopeless air it exuded. Rurutia’s vocals are pretty soft, and that is what I think makes this song a bit forgettable, though she picks it up during the chorus. This is a hit or miss song. I like it though.

The next track on the album is the interesting 蝶ノ森 (Chō no Mori; Butterfly Forest). I really didn’t think I was going to like this song. I mean the arrangement was fitting, but nothing different compared to Rurutia. Rurutia’s vocals have that weird, ’sounds like her voice is going out’ thing, but it actually seems to work to this songs advantage. I don’t think I care too much for the verses, but they’re fine. Its actually the chorus that I like–that, in the ‘oh’s’ she sings at the end of them, it brought a bit of variety to this song.

The last full track on the album is the forgettable コバルトの星 (Cobalt no Hoshi; Cobalt Stars). This song really just goes over your head, and by the time you actually care enough to pay attention to the song, its over. The arrangement plays like air, and Rurutia’s vocals aren’t bad but they aren’t particularly interesting either. Cobalt is like a deep shade of blue I believe, so the title is basically: ‘blue stars’ very pretty, too bad the song is so unmemorable.

The last track on the album is the outro Sleeping Meme. I actually thought it was going to be as short as the interlude, but its actually over three minutes worth of an instrumental. It starts off lively and ends on a pretty mellow note.

-GRADE: B
Rating: ** stars

Rurutia’s fourth album Meme is pretty good, but not very memorable. I believe this is her weakest album, because I like Chorian a lot more than this, and that album had pointless instrumentals? I can’t really say much about this album, I mean sometimes I just don’t know what to say. I liked the majority of the songs on here, so that was a plus, even if I can’t really remember them. Meme was fine, but her first three albums are just so much better.

Wonder Girls [So Hot] (1st Single)

So Hot
This Time
You’re Out
Tell Me (Rap Version)

The Wonder Girls 1st single starts off with the a-side So Hot. I don’t know, I mean what can I say, they were practically reading my mind with this song, and by that I mean that, ‘i’m so hot and i’m so fine!’ The arrangement was catchy, rhythmic and a bit on the sexy side. I really liked it. Their vocals were good, I mean, I really don’t get into Korean girl groups, especially not the younger ones. I liked S.E.S., two M.I.L.K. songs, Because I’m a girl by Kiss and that’s really all I can think of, girl group wise. The Wonder Girls have some nice vocals, and they really set this song on fire. I think they should do more tracks like this.

The next track on the single is its first b-side This Time. Oh, wow. I really liked this song. I actually expected not to, and well I’m a bit pleasantly surprised with the outcome. The arrangement is very rnb, smooth rnb and sounds very 90’s and or old-fashioned, which was a nice touch even though its your typical rnb slow jam arrangement. Their vocals weren’t as polished as they were in the previous track, but I thought they all gave sincere vocal performances and the harmonies were nice. I really loved the: ‘i will be the same’ parts of the chorus. This was a really nice, mellow and rather sad song.

The next track on the single is its second b-side You’re Out. Well, at least we got one good b-side and it surely isn’t this one. The arrangement is pretty generic, light rnb and pop, and just sounds like something you’d hear at the roller rink on a slow day. The vocal performances seem a bit awkward, and I found that I didn’t care for them. The rap parts were all right, but nothing memorable. This song is forgettable.

The last track on the single is the rap version of their smash hit Tell Me. Its the same song, just with a rap. I’ll discuss this song in great detail when I review their first album.

-GRADE: B+
Rating: ** stars

The Wonder Girls 1st single So Hot is a pretty good single. So Hot is as hot as the title suggests it is. This Time is a nice and sincere ballad from them. You’re Out is forgettable and Tell Me (Rap Version) is the same song, just with a rap. Its still as catchy as its always been though.

Rie Fu [Rose Album] (Second Album)

Sono Mama de (そのままで; The Way You Are)
5minutes
Funny Dream
I Wanna Go To A Place…
Realize
Tiny Tiny Melody
Conversation
They Always Talk About
Kiss U Goodbye
Vintage Denim
Rose
Long Long Way (Album Version)
Negaigoto (ねがいごと; Wishes)

The album starts off with the mellow Sono Mama de (そのままで; The Way You Are). When the song first started I actually thought it was going to be pretty fast, but that could be because I was thinking of the opening track on her first album. The arrangement made me think of air, it just gave off such an atmosphere of calm. Rie’s vocals were good as usual, kind a low rising a bit in all the right places. This was a nice start to the album.

The next track on the album is the ordinary 5minutes. I did not use to like this song, I thought it was beyond boring, a bit monotonous and… what? I don’t think that now. I think I like this song because its so freaking relevant. It just never seems like its enough time to do anything, and you’re just rushing trying to get it all done.

The next track on the album is the slow-paced Funny Dream. This is a pretty indifferent song, and that is where its charm lies. Rie sings this song in a way that says, ‘i really don’t care’ its like she’s telling this person about this dream she had, it wasn’t a very exciting dream or anything, but she just felt that she should tell him. Its pretty interesting and a decent listen.

The next track on the album is one of my favorites, I Wanna Go To A Place…. This was one of the first songs I heard by Rie and it remains one of my favorites today, because it is so very poignant. I love the simple violin arrangement, because its so basic, but it just drives this whole song, that and the piano. Rie’s vocals were really good in this, especially when it got to the chorus and her voice rose just a bit, it just always gets to me especially the: ‘…and every time i look, i thought you were there, but it was just my imagination, i don’t see it anymore, ’cause i see through you now…’ and of course, ‘i wanna go to a place where i can say, ‘i’m all right’ and stay there with you…’

The next track on the album is the somewhat assertive Realize. This is a pretty neat song, as to where Rie’s vocals don’t sound so lazy high, but she puts a bit of attitude into her tone that really catches your attention. The main instrument is the drums, and they went perfectly with the whole flow and mood of the song, which gives off a somewhat dark and calculating atmosphere. Rie’s vocals I already stated were a bit less casual and a lot more assertive, it was a good vocal performance and the chorus was the best part, and is actually what makes this song relevant.

The next track on the album is the soothing Tiny Tiny Melody. This is one of the first Rie Fu songs I ever heard, and I just find that I adore it so much and its one of those songs you never get tired of. The drum arrangement is just so calming and washes over you in the nicest of ways. It really makes you think of walking along the shoreline, while the sun is setting. Rie’s vocals are gorgeous, and this is where the casualness of her voice really shines. I just love this song.

The next track on the album is the mellow Conversation. This is a song that doesn’t really ask for much, and that’s why I like it so much. The arrangement is calming, and slow, and gives you the feeling of being exhausted or tired. Rie’s vocals are lovely. The chorus is the highlight.

The next track on the album ups the pace with They Always Talk About. This song brings me back to Realize in terms of Rie having a bit of bass and attitude in her voice. I also got such a Michelle Branch vibe from her in this song. The arrangement was a light rock, pretty fitting and Rie’s vocals were good, especially during the chorus and the, ‘yeah!’ parts.

The next track on the album is the drab Kiss U Goodbye. This song is just really lethargic to me, and nearly put me to sleep. The arrangement is pretty interesting, it sounds like an unplugged performance, since everything sounds so live. The drums, the guitar, the bass. It gives you such an intimate feeling, and that is where my like for this song ends. Rie’s vocals are fine, but they’re so lank and sometimes sounds like she’s singing in the background. Her vocals just sound so boring and uninspired that I couldn’t even be bothered to care for it after a while. The clapping at the end was also pretty random, but brought me back to the whole live feel of the song. Too bad its a downer track.

The next track on the album is the down-tempo Vintage Denim. You know how you sit there waiting for a certain song (or whatever) to go somewhere and it never really does, but you find that you like it anyways? That would be this song. It never goes anywhere. The verses went completely over my head and if the song had stayed at that pace, I wouldn’t have liked it at all, because the verses really made no sense to me. The chorus (and the nice piano melody) is what saves this song in the end. The harmonious pretty-ness of it is what got me.

The next track is the acoustic-driven Rose. I had to listen to this song three times, in order for me to figure out whether I liked it or not. On one hand its terribly stagnant and never seems to really go anywhere, and then on the other hand I like how intriguing the song is vocal-wise and how it doesn’t ask for much. I like the mellow yet hurt air it gives off, I think in time it’ll grow on me.

The second to last track on the album is the down-tempo Long Long Way (Album Version). I’ve always enjoyed how slow and soothing this song is, it really makes you feel like you’re on some long journey to somewhere. The arrangement consists of a calm piano piece, that just plays so nice. Rie’s vocals are gorgeous and I love how she sings this in such a wistful and or longing way. It really makes this quite the touching little track: ’so tell me all the things you would…go any, go any, go any…’

The last track on the album is the lovely Negaigoto (ねがいごと; Wishes). I love this song. Its one of the first Rie songs I ever heard and it continues to be my favorite today. Its something so magical about this song, but maybe that’s because the title translates to, ‘wishes’ Rie’s vocals were great, I adored how she sung the chorus, it really make this song stand out, and was a near perfect album closer. I also really liked how the piano took the song out; special.

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

Rie Fu’s second album Rose Album is, of course, a good album. I can’t really say this was better than her debut album, because its really not, but it does have one thing that her first album didn’t really have and that’s variety. There was less somber piano driven songs, and more songs with an acoustic guitar edge, and it just felt like Rie was in lighter spirits. The main reason why I don’t think this album is better than the first, despite me liking the majority of the songs on here, is because its not really all that memorable, and I can’t really see myself listening to this album all the way through. I mean the only songs you’ll catch me listening to on a regular basis with this album is: I Wanna Go To A Place…, Tiny Tiny Melody and Long Long Way. I found this album a bit difficult to review as well, because I don’t know, I tend to like every Rie Fu song I listen to, and I really don’t like saying the same thing over and over again. Rose Album was a good album from Rie, its a bit weak compared to her first album, if only because it played like a test subject (or an awkward dream as compared to Rie Fu which played like a sad beautiful dream), but its still a solid album from her.

Super Junior [Don't Don] (Second Album) ~special review~

돈 돈! (Don’t Don)
소원이 있나요 (Sapphire Blue)
You’re my endless love (말하자면)
Marry U
Marry U (New Version)
갈증 (A Man In Love)
Disco Drive
미워 (Hate U, Love U)
I am
사랑이 떠나다 (She’s gone)
마지막 승부 (The girl is mine)
거울 (Mirror)
우리들의 사랑 (Our Love)
Missin’ U
Midnight Fantasy
Thank you
갈증 (A Man In Love)
Song For you [Bonus Track]

The album starts off with the up-tempo and frenzied 돈 돈! (Don’t Don). I didn’t really like this song when it first came out, but its really grown on me. I like how dark-rock, and edgy the arrangement is, it creates such mood and atmosphere. I thought they all did good. The aggressive singing, the screams (HeeChul?), the quick rapping, the harmonious chorus and the definite highlight of the song: Henry’s impressive violin skills.

The next track on the album is the nostalgic 소원이 있나요 (Sapphire Blue). I’m sorry, but I really love this song. The arrangement is so clear, and makes me think of the ocean. Suju’s vocal performances were just really good, and flowed so well with it. I just adore the chorus, and DongHae’s part. This song makes me happy and sad at the same time.

The next track on the album is the somewhat down-tempo You’re my endless love (말하자면). You would think this was a down-tempo song, but its actually pretty upbeat. The arrangement is nothing really interesting and does what it should. Their vocal performances were nice. Its seems rather cheesy, I mean it kind a is, but its a decent listen.

The next track on the album is the charming Marry U. I really adore this song, its just so sweet! The arrangement is pretty basic, but its gives off a very warm and close feeling of love and adoration. The vocal performances were really nice, I loved how their voices just sounded so sweet and light. This is one of my favorites.

The next track on the album is a new version of the charmer Marry U. What can one say? Its the same song, just a lot clearer.

The next track on the album is the underwhelming 갈증 (A Man In Love). I don’t know, this isn’t a bad song, but it really could have been better. The arrangement sounds juvenile, like someone throwing coins on glass or something, and not only that but it sounds awfully familiar… like an arrangement I’ve heard before. I most likely have. The vocals were OK, but it just sounded like they were saying the words instead of singing them. I mean the whole flow of the song was just choppy and uninteresting. The chorus was a bit decent though.

The next track on the album is the lukewarm Disco Drive. When I first saw the title of the song, I groaned and thought: only Suju, and then I laughed. This song isn’t as corny as I thought it was going to be, but its still pretty lame. The arrangement is a bit lank, and soap-opera-ish. Then there’s the saxophone that plays at such odd intervals, I wondered what was even the point of it. Their vocals were all right, but I didn’t care for them. This song is pretty forgettable.

The next track is the bland 미워 (Hate U, Love U). I liked this song when I first listened to this album, not so much so now. Its pretty boring, and seems to play without really being heard. The arrangement was nice, but nothing that really jumps out and snags your attention. The same can be said about the vocal performances, which were pretty ‘meh’ to me.

The next track on the album is the sort of up-tempo I am. I really liked this song. The beat is fresh and stays consistent, plus its kind of empowering in a sense. The vocals were quite good, especially when they were all singing in harmony: ‘i’m a lonely, lonely man!’ well, I believe that is what they were saying.

The next track on the album is the rather wang-sty 사랑이 떠나다 (She’s gone). This song is pretty corny. The arrangement played like air, I hardly cared for it, but I guess it was fitting. The vocal performances weren’t bad, just impossible. I don’t want to feel like I’m being forced to care about your sadness, I want it to come naturally. I got such a, ‘trying too hard to tug at the heart-strings’ vibe from this song, and in the end felt exasperated with it.

The next track on the album is the mid-tempo 마지막 승부 (The girl is mine). I really like this song, mostly because I didn’t expect it to go the way it did. I like how fast-paced the arrangement seems, even though its not really fast at all, it gives you quite the adrenaline rush. The vocal performances were quite good as well, all aggressive and assertive, it gave you this feeling that they were all fighting for the same girl.

The next track on the album is the rather nice 거울 (Mirror). When the song first started off, I actually thought Wheesung had made a cameo, because it sounded exactly like how he would start off one of his songs. It was really impressive, because Wheesung is a strong singer. The arrangement was mainly the piano, very nice on the ears, a bit dramatic and had a nice rnb flavor to it. The vocals like I said were good, especially the humming, just brought a lot of personality and depth to this song.

The next track on the album is the bland 우리들의 사랑 (Our Love). This song started off promising enough, with a nice vocal performance from whomever, then we hit the chorus and everything gets lame. The arrangement is a bit sparkly and unmemorable. The vocal performances were nice in a sense, but just way too cheesy. It was almost like I couldn’t stand to listen to it anymore, so doused in sickening sugar as it was.

The next track on the album is the pretty aggressive Missin’ U. I kind of like this song, and then I kind of don’t like it. The arrangement is really nothing special, I found I didn’t really care for it. The vocals however were pretty decent, I like how assertive the chorus was, like they were really telling this girl how much they were missing her, and they wanted her to know it.

The next track on the album is the weak Midnight Fantasy. I always get a bit wary when I see title’s that have ‘midnight’ in its title. You’d think it’d be a good song, but its more often than not, isn’t. The arrangement is a bit basic and sparkly, which made it lame in a sense. The vocal performances are nice, but they seem a bit childish and I find that I just didn’t care for them. The chorus is all right, but this song just does nothing for me.

The next track on the album is the uninspired Thank you. ‘Thank-you’ songs are thoughtful, but they always bore me, and this is no different. The arrangement is an agonizingly basic, and bland piano melody. The vocals are hit or miss. It was a bit half and half. This song is just really forgettable.

The second to last track on this album is the mind-numbing 갈증 (A Man In Love). I’m only going to say a few words in concerns to this, since I’ve already talked about how much I loath remixes 9/10 of the time. Was this remix really necessary? No.

The last track on the album is a bonus: Song For you. Not that its much of a bonus, but its a pretty decent song. The arrangement is light and nice on the ears, and the vocal performances were pretty good. Its the type of song that will put a warm smile on your face, and its a sweet end to the album.

-GRADE: C
Rating: * stars

Super Junior’s second album Don’t Don is thankfully a lot better than their first album, but still its just not really all that good. I’ll be honest, I’m am not a fan of SUJU’s music, but I am a fan of them as individuals. When I first listened to this album, back when it had first came out, I really enjoyed it, and it made me seek out their first album which was short and forgettable. This album seems to have become long and forgettable. This is the re-packaged version, so it comes with four new songs, but they don’t do much but drag the album down even more. I mean what was the point of adding the new version of Marry U right after the original? Then the A Man In Love remix was a whole bunch of, ‘whats the point?’ Still, it was some good tracks on here, those being: Don’t Don, Sapphire Blue, Marry U and The girl is mine. Don’t Don was an album I had once enjoyed, now I find it a very underwhelming listen. I hope their next album is a good one.

Otsuka Ai [LOVE JAM] (Second Album)

スーパーマン (Suupaaman; Superman)
Happy Days
Strawberry Jam
大好きだよ。 (Daisuki Da yo.; I Love You.)
扇子 (Sensu; Fan)
妄想チョップ (Mousou Choppu; Crazy Chop)
ポンポン (Pon Pon)
ふたつ星記念日 (Futatsuboshi Kinenbi; Two Stars Remembrance Day)
金魚花火 (Kingyo Hanabi; Goldfish Firework)
黒毛和牛上塩タン焼735円” (Kuroge Wagyuu Joushio Tan Yaki 735 En) (Salty Grilled Tongue of Black Cow 735 En)
フレンズ (Furenzu; Friends)

The album starts off with the quirky スーパーマン (Suupaaman; Superman). I guess its customary for Ai-chan albums to begin with a bang. Well, this is one bang I can do without. I’m not saying its a bad song,  I actually love the Ai songs that sound like she was on a high when recording them, but this just goes completely over my head. The sound effects, Ai-chan’s weird vocal performance, the rush of the arrangement; its just all too much and does nothing to keep my attention. I mean, ‘Oh My God!’ my sentiments exactly, random guy voice.

The next track is the asinine Happy Days. Goodness, I hate this song. You know those songs that just, when you hear them, you have this sudden urge to kill yourself? Well, that would be this song. Its so annoying that I just can’t stand it! I really can’t. I’m so glad I’ll never have to endure listening to it again… hopefully.

The next track on the album is the jazzy Strawberry Jam. I did not expect this song to go this way, I actually thought it was going to be another cutesy, acid-trip type song. Its actually pretty mellow, thank-goodness. The arrangement is the best part about this song, the trumpets add such a soulful atmosphere to this track that really just absorbs you. Ai-chan’s vocals are pretty nice.

The next track on the album is my favorite Ai song, 大好きだよ。 (Daisuki Da yo.; I Love You.). I really just love this song to death. The arrangement is so moody, and just oozes of an unfulfilled love. Ai-chan’s vocals are pretty good, she put a lot of emotion into her voice, and though it becomes a bit taxing because of the hi-pitch of it, you find that you can overlook that fact and just enjoy the song for what it is… a weepy ballad of love. This is her best ballad, in my opinion.

The next track on the album is the sort of there 扇子 (Sensu; Fan). Hmm? This song isn’t very interesting, and I honestly didn’t expect it to be as mellow as it is. The arrangement was fitting, pretty dramatic as it took the song out. I liked the drums. Ai’s vocals were pretty controlled, high still, but controlled. This is an all right song, though not one that is very memorable.

The next track on the album is the techy 妄想チョップ (Mousou Choppu; Crazy Chop). I had to listen to this song twice, because I had to make sure I didn’t like it. The arrangement is catchy, and the only thing about this song that stood out. Ai’s vocals weren’t bad, but they were annoying in a, ‘let’s repeat things in an irritating in muffled techno-style voice’  and it just got annoying way too fast. I more often then not really dislike Ai-chan’s quirkier songs, because though unique, they just rub me the wrong way. This song is just pointless.

The next track on the album is the frantic ポンポン (Pon Pon). No surprise, this is your typical Ai-chan acid trip, equipped with a chaotic and frenzied arrangement, that makes you feel as if you’re on a roller coaster and a high-pitched and squeaky vocal performance chock full of annoyance, that flows together and leaves you twitching for some ibuprofen.

The next track on the album thankfully slows the pace down with, ふたつ星記念日 (Futatsuboshi Kinenbi; Two Stars Remembrance Day). This was a nice song. The arrangement is very easy-going and flowing, and really gives off this feeling of remembering happier times. Ai-chan’s vocals were controlled, though still child-ish, it brought a lot of charm to this song and made it an enjoyable listen.

The next track on the album is the down-tempo 金魚花火 (Kingyo Hanabi; Goldfish Firework). This is such a good ballad from Ai-chan. I love how the arrangement is so dramatic in twinkly in such a quiet way, it really moves through you. Ai’s vocal performance was really good and sorrowful, she put a bit of emotion into this song to make it quite the heartfelt little track. I still think Daisuki Da yo is her best ballad, but this one is definitely up there.

The second to last track on the album is the oddly titled 黒毛和牛上塩タン焼735円” (Kuroge Wagyuu Joushio Tan Yaki 735 En) (Salty Grilled Tongue of Black Cow 735 En). Why does a title that translates to, ’salty grilled tongue of black cow, 735 en’ sound so nostalgic and sad? I always go into this song thinking its going to be one warped piece of mind-numb-ing-ness, but I always come out pleasantly surprised. This is a nice soothing track, with a really good vocal performance from Ai.

The last track on the album is one of the infamous ‘friendship’ songs that I love. フレンズ (Furenzu; Friends) was a nice little down-tempo song to leave the album on. I loved the slow pace of it, mostly the verses and how she took the song out. I like how her voice rose a bit during the chorus, even if she did sound a bit weird, she certainly put a lot of personality into this song to keep you interested and somewhat moved.

-GRADE: B
Rating: ** stars

Otsuka Ai’s second album LOVE JAM was a pretty good album, but most definitely a step down from LOVE PUNCH. I gave this album a solid B despite me liking the majority of the songs on here, because it just isn’t memorable in my opinion. Its like the album left no impression whatsoever on me, and I found myself mostly bored while listening to it, which is a bit of a downer because Ai-chan’s albums–normally–really keep me entertained. This one didn’t and I found it a bit hard to review as well, not really, but if you don’t enjoy listening to an album you’re not going to enjoy writing about it either. I absolutely hated her trademark ’sugar high’ songs, and this is the first and only album so far (I have yet to listen to LOVE LETTER) that I did not like at least one of them. The down-tempo songs in the end is what save this album from falling into the realm of mediocrity, since they were top-notch, especially Daisuki Da yo. and Kingyo Hanabi. LOVE JAM was an all right album, but compared to the greatness that is her first album, this could have really been just so much better.