Clazziquai Project [Love Child of the Century] (Third Album)

Prayers
Lover boy
In the Midst of Life
session 1 : all hail
Gentle giant
Last tango
Fiesta
Next love
Romeo n Juliet
Flower children
session 2 : confession
Friday’s Blues
Glory
Light

The album starts off with Prayers. I wasn’t sure on whether or not I was going to like this song, since it started out on a slow note and I didn’t too much like Horan’s vocal performance. The song is sung in English, pretty good English and the arrangement has a bit of variety but I didn’t too much care for it. Horan has the main vocals and she did a nice job, I only started enjoying the song when she started getting into the song. This is an all right opening to the album.

The next track on the album is the mid-tempo Lover boy. This song is interesting and odd at the same time. I thought I wasn’t going to like it but as the song went along it seemed to even itself out. Horan is singing mainly, but I believe Alex comes in at some point and starts singing as well, so that their vocals are pretty much layered over one anothers. I always love that duel vocal thing they always have going on when they sing together. I also thought the song was pretty catchy.

The next track on the album is the strange In the Midst of Life. I’m really not sure how to review this song, but I do know I like it. The arrangement seems very bland in a way, but at the same time very interesting. It makes you think of driving fast down a long stretch of dark road, it gives off a feeling of being free. Alex has the main vocals and they’re pretty good, then Horan comes in and everything seems to fall nicely into place (though she sounds strange, i’m thinking she’s on a vocoder, if so I like because it adds a bit of variety to this song), I always love when they sing together.

The next track on the album is the uber short session 1 : all hail. This was pretty pointless, but humorous at the same time.

The next track on the album is the rather strange Gentle giant. I really don’t get this song and though its down-tempo, I actually expected it to be a little more slower than what it was. The arrangement for some reason fits this song but it doesn’t jump out at you and when its given time to shine I thought I was listening to some sort of Nintendo video game music, it really threw me off. Horan and Alex both sing together in this, I heard mostly English so I’m assuming they sing this song in full English. I don’t understand this track and that kind of ruins it for me, who exactly is this gentle beast they are talking about? I get the feeling that its God, but I don’t know for sure.

The next track on the album is the lilting Last tango. I’m really not surprised this song went the way it did, some things are just so obvious. I like how intimate the arrangement is, I could imagine Horan and Alex or two random people dancing close together, it makes for a rather soothing and romantic atmosphere. This is also another track that features vocals from both Horan and Alex and honestly it wouldn’t have worked any other way. Their vocal performances were pretty slow, it tends to drag the song down a bit but it was appropriate. A lot of people will find this track boring in or dull, but I like songs like this.

The next track on the album is Fiesta. Ah, some things just don’t surprise me, I mean I knew the direction in which this song was going to go, but I kind of wish they would have been more creative with it. I mean how cliche can you get? The arrangement sounded Spanish-y but in the most lukewarm-est of ways, I mean when I hear Spanish music I want to dance, this on the other hand had me scratching my head, its so uninspired. Horan has the main vocals in this and well she sounded a bit bored and flat, I mean I felt no connection with her and the song went completely over my head. This could have been better, but alas its pretty mediocre.

The next track picks it up a bit with Next love. I really like this track, if only because it seems to convey how I’m feeling right about now. The arrangement sounds very old-fashioned and a bit futuristic all molded into one, I mean it doesn’t really do much but for some reason it just catches my attention. Horan has the main vocals, and there’s some backing vocals male and female that blend in nicely with her voice. I love the attitude she seemed to exude in this song, it was almost sexy: ‘we almost got it right, we almost got it right’ this is my new favorite line.

The next track on the album is the smooth and jazzy Romeo n Juliet. This is a nice song, but for it to be nearly four minutes long it certainly seems to play like a long track. The arrangement was rather intimate, but a bit clunky. I don’t know it just didn’t seem to capture my attention like their arrangements normally do, it was fitting but it could have played better. Alex and Horan are both vocalists in this track and their voices are appropriately soft and somewhat sensual in a way. This song has a tendency to become exasperating but its a nice listen.

The next track on the album is the rather airy Flower children. This song is pretty boring and it went clear over my head. Like I said, the arrangement is pretty airy and doesn’t really do much but what it should. Alex and Horan are the vocalists in this and though their vocals are decent I found that I cared for neither performance. I listened to this song twice and each time I felt my interest wane, like immediately. This is a pretty forgettable and uninspired track.

The next track is the second and last interlude session 2 : confession. It starts off with what sounds like someone trying to flick on a lighter, then Horan I believe starts talking and its sounds like she speaking french from the accent. Weird interlude, but kind of mysterious and sexy in a way.

The next track on the album is the down-tempo Friday’s Blues. I have to say this is the best song on this album, hands down. The arrangement seems to really display a very blue like feeling and the interlude bleeds right into this and I thought that was pretty neat. Alex has the main vocal performance and I must say this is literally the first time I have heard him sing with so much emotion, normally he sounds very casual but he seemed to really get into the song and that caught my attention like nothing else. I actually want to listen to it again, what a good and rather surprising song: ‘this is how it feels!’

The second to last track on the album is the over my head Glory. This song comes across as very anti-climactic to me, seriously. I mean nothing happens and it goes nowhere. The arrangement is really nothing exciting and for some reason made the song more annoying than Horan’s oddly high vocal performance. I believe I heard Alex somewhere in the beginning and then he strangely just disappears. I don’t know what message they were trying to convey (are they talking about love?) but the ‘glory’ I’m thinking about is a bit different from theirs. This song is pretty unmemorable.

The last track on the album is the dull Light. Uh… what’s going on Horan are you bored? The arrangement literally sounded like the ticking of a clock, not literally but that’s the impression I got from the constant ting I heard throughout. It made the song quite the numbing experience. Horan has the main vocals, but unlike ‘friday’s blues’ which is one of my favorites now, Horan did a complete 180 and turned what could have been a decent down-tempo track into some sort of confused flow of boredom. I mean I think I stopped listening at one point without even meaning to, because the song was going nowhere. This is a very weak ending to the album.

-GRADE: C
Rating: * star

Clazziquai Project’s third album Love Child of the Century was a rather unmemorable album and for it to be Clazziquai I am rather shocked by this. This is without a doubt their weakest album to date and I’m not counting their mini album since I haven’t listened to it and its a mini album. I mean a few of the songs were fine, but not one song with the exception of Friday’s Blues jumped out at me; as it stands I only remember one song fully and that’s ‘friday’s blues’. I thought the arrangements were a bit safe, usually there’s such creativity when it comes to their sound, but it was absent in this volume, it all sounded a bit lukewarm. Alex’s vocals were fine, but Horan a lot of the time sounded very dispassionate and seemed to be singing half-heartily. I’m not sure I really enjoyed one vocal performance from her on this album, perhaps the duet-like songs with Alex, otherwise no. Love Child of the Century is a step down from Color Your Soul, a HUGE step down, I hope they bring it correct on their next full length studio album.

Hirahara Ayaka [Ima, Kaze no Naka de; Now, Inside the Wind] (12th Single)

Ima, Kaze no Naka de; Now, Inside the Wind
To be free
Shabondama

Hirahara Ayaka’s 12th single starts off with the a-side Ima, Kaze no Naka de; Now, Inside the Wind. Ah, sometimes I think I’m a boring person, but its just something about quiet songs that come across as incredibly bland that just appeals to me. I mean this is a really quiet track, you’d most likely have to turn the volume up to max just to hear it, but its such a nice listen. The arrangement flows and its exactly the type of arrangement you’d expect for a song like this. Hirahara’s vocals however are incredibly soft and lovely. This isn’t a very stand out or memorable a-side, but it does leave you feeling content.

The next track on the single is its first b-side To be free. This was a really difficult song to review and I had to listen to it again, but I still find myself unsure on how I feel about it. Ah, its a good song, no doubt about that and Hirahara gives a really good vocal performance, but the song is so long and long-winded that I found myself on both instances just losing interest in it. I still find it a nice and positive listen though, so I definitely like it more than I dislike it.

The last track on the single is its second b-side Shabondama. This is quite the sad little song, I mean I got really depressed while listening to it. The piano arrangement is nice and somber, it really plays rather lonely like. It creates a perfectly tearful sorrowful mood. I don’t know if this was her intention, but Hirahara’s vocal performance certainly makes you want to cry. This song leaves you feeling rather unfulfilled once it ends. This is my favorite track off the single. Its a rather poignant listen.

-GRADE: A
Rating: *** stars

Hirahara Ayaka’s 12th single Ima, Kaze no Naka de is a nice and quiet little single. Ima, Kaze no Naka de plays like the wind, as its so quiet and gives off a rather peaceful and contented air. Its not all that a-side material, but its certainly a nice listen. To be free boasts the singles best vocal performance, but the length and long-windedness of the track drags it down just a bit. Shabondama is the single’s best song, but it leaves the single off on a rather depressing note.

Chihiro Onitsuka [Sugar High] (Third Album)

Not Your God*
Koe (Voice)
Rebel Luck
Tiger in My Love
Castle Imitation (Album Version)
Hyouryū no Hane (Drifting Shuttleclock)
Suna No Tate (Sand Shield)
King Of Solitude
Borderline
Castle Imitation

The album starts off with the intro-song Not Your God. This song is rather powerful in a sense. It has Chihiro singing in English (her English isn’t really that bad in this), backed up by a piano. Its pretty good.

The next track on the album is the awe-inspiring Koe (Voice). This is the type of song that really just goes straight through you in such a profound way. I like how subtle the arrangement is, its there but it doesn’t overpower even when Chihiro’s voice rises, it compliments her vocals perfectly. Chihiro’s vocal performance was really quite good, she gave off the right amount of emotion, her voice sounding wistful but strong at the same time. It just absorbs you. I love how the song seems to display an inner strength that gives off such a feeling of hope, it really does sound like a voice.

The next track on the album is the somber Rebel Luck. This song is really heart-breaking to me. I’ve always thought of this as being one of her more up in the tempo songs, so it tends to take me by surprise when it comes on and the pace is very slow and nearly mournful. The arrangement consists of a piano, that plays so well despite not doing much of anything and is seemingly playing the same notes over and over. Chihiro’s vocal performance in this song is very touching, I love the sure way in which she sung this, not doing more than what was necessary and that made this song all the more felt.

The next track on the album is the mid-tempo Tiger in My Love. This is a pretty interesting song from Chihiro, but it does kind of remind me of the original version of ’shine’ and ‘little beat rifle’ only less boring and with more of an edge. The arrangement is a combination of the piano and drums and both really just pounds into you, it seems to be such heart behind them. Chihiro’s vocals were pretty strong in this, but at the same time a bit exasperating. I use to really dislike this song, but its grown on me.

The next track on the album is the somewhat dramatic Castle Imitation (Album Version). This is a really great song, I mean its just so powerful in a quiet way. The arrangement is one moving piano piece, I just really felt so moved by it, it really seemed to embody the harsh atmosphere of the song. This is also one of Chihiro’s best and most meaningful vocal performances to date, I mean when she sings the chorus its just so felt. I really can’t be in a down type of mood while listening to this, because honestly it would bring me to tears. Chihiro’s voice and the whole vibe of the song just comes across as so very painful to me and it makes me think of regret.

The next track on the album keeps the somewhat down-tempo tracks coming with Hyouryū no Hane (Drifting Shuttleclock). This is another good song from Chihiro, but I don’t think its one of her more stronger tracks that stand out. This features a nice and very fitting piano arrangement as well, which creates an atmosphere of being swept up by the wind. I felt cold listening to it and I think that was an appropriate feeling. Chihiro’s vocals are great in this, especially during the chorus. I’ll admit the song tends to get a bit exasperating towards the end, because its not long but it felt long to me for some reason and it ends kind of abruptly.

The next track on the album is the wistful Suna No Tate (Sand Shield). This is one of the first songs I believe I heard by Chihiro and honestly it just goes through me. The arrangement sounds like the wind, it really does, it was almost like I could hear the wind blowing over me and whispering to me, it made the whole atmosphere of the song very depressing. Chihiro’s vocals were nice, I mean for a song like this, she sung in a high tone and I think it was really appropriate. This song seems to talk of pain and longing and gave me the impression of someone giving up.

The next track on the album is the rather depressing King Of Solitude. This is one of my favorite song titles, it really makes you think. This is also one of my favorite Chihiro tracks and one of the first I heard by her. I never really understood the depth of this song until I watched the video, it made me think of the 1800’s with all the still shots and how everything just looked and seemed so old and lost to time, its one of my favorite videos because it really seemed to reflect the song. The arrangement is the piano and it plays rather somberly throughout, but it is one of the most fitting arrangements I’ve ever heard. Chihiro’s voice sounded sad, though she strained a bit I still always find myself hanging off her every word. This song always makes me feel so heavy.

The next track on the album is the rather powerful Borderline. This is a song that though good in its own right, after a while becomes a bit underwhelming. That doesn’t mean it isn’t good, it just means that I’m not as awed by it as I once was. This song is right up there with ‘gekkou’ and ‘infection’ in terms of intensity vocal wise. Chihiro gives a solid performance and I mean you really can’t help but feel everything she is saying, especially when she reaches the climax. This song use to really move me, it still does.

The last full track on the album is Castle Imitation. This is the regular version and honestly this is one of the first times I’ve ever preferred an album version over the original. This is still good, but it lacks the emotional intensity and depth of the album version.

The last track quite absurdly is an instrumental of Castle Imitation. What? Why!?

-GRADE: B
Rating: ** stars

Chihiro Onitsuka’s third album Sugar High is a good album, but that is really no surprise. However, I gave it a B because it offers nothing we haven’t already heard from her, its too short with only nine tracks eight excluding the regular version of ‘castle imitation’ and because there are three different versions of the same song in one is an instrumental. The stand-out track is without a doubt ‘king of solitude’ and Chihiro, though the album is brief had some really solid tracks on here and I found that I enjoyed them all. Sugar High is Chihiro’s last album that displays her powerful vocals (before she had her throat surgery) and though I felt she could have done more with it, it still stands out as one of her best albums.

Hinouchi Emi [GOODIE MEMORIES] (6th Single)

GOODIE MEMORIES
E・S・C・A・P・E
Get Up!

Hinouchi Emi’s 6th single starts off with the a-side GOODIE MEMORIES. This song really made me pay attention to Emi and actually take her seriously. Dramatiques was such a throwaway album that I had lost a bit of hope in her, but when I heard this song, I couldn’t help but smile a little. I knew she had it in her to come out with some good, stand out material. The arrangement is so lively in a mellow kind a way, with the heavy use of rnb and synth you can just picture an intimate gathering of friends holding colorful drinks, swaying slightly, laughing, talking and just having an all around good time. Emi’s vocals are quite good and the chorus is the definite high light, its really engaging and fills you with a very warm and youthful type of feeling. This song is so old-school sounding and makes me feel so nostalgic that sometimes when I listen to this, I find myself feeling incredibly sad, but somewhat happy at the same time.

The next track on the single is its first b-side E・S・C・A・P・E. What an odd choice of spelling? Anyways, this track definitely gives off a party like air, moreso than the previous track. The arrangement isn’t really all that interesting but it flows well and carries the song. Emi’s vocals are nice in this, I don’t too much recall the verses, but the chorus was lively. Ah, this isn’t as stand-out as the a-side, but its a pretty all right b-side.

The last track on the single is its second b-side Get Up!. I’m guessing Emi was aiming for a party single and she certainly succeeded. This is the most lively and up-tempo track yet and at the same time the most forgettable. It has a typical beat (nice use of the drums, cymbals?), but just like with the previous track it carries the song. Emi’s vocals are fine, but they stand out only during the chorus. This track is appealing only because its fun and who doesn’t like to have fun every once in a while?

-GRADE: B+
Rating: ** stars

Hinouchi Emi’s 6th single GOODIE MEMORIES is a somewhat solid single, but as the a-side stands on its own, the two b-sides seem to fall heavily into the realm of cliche. This was a lively single and it was definitely a fun listen, but ‘goodie memories’ is the only memorable track here. The two b-sides are definitely worth a listen, but don’t expect anything too different from them.

Chara [Junior Sweet] (Fifth Album)

Miruku
Yasashii Kimochi (Shiawase Version)
Shimashima No Bambi
Atashi No Namae Wa Obaka-San
Time Machine
Katte Ni Kita
Doko Ni Itta N Darou Ano Baka Wa
Watashi Wa Kawaii Hito To Iwareta
Junior Sweet
Hana No Yume
Ai No Kizuna
Setsunai Mono

The album starts off with the down-tempo Miruku. This is one of my all time favorite Chara songs, top five actually. I just really love this song. The arrangement is smooth, the slow twinkle of the drums adding such atmosphere and depth to the song. It makes you think of the wind. I really loved Chara’s vocals in this track, the high, breathless rasp of her voice when she went for those high notes and the low desperation throughout. I mean this song has always come across as very depressing to me, I get such a lonely: ‘i want you, i love you’ vibe from this song. Chara’s vocals and the arrangement expresses that just perfectly. I really love how the song ends, Chara’s vocals in this were just gorgeous and so felt.

The next track on the album is the up and down Yasashii Kimochi (Shiawase Version). I had to listen to this song like four times, because I really couldn’t decide on whether I liked it or not. The arrangement sounded Christmas-y or holiday season-like, what with the bells. I thought the loud banging of the drums was a bit annoying and distracting though, but the bells seems to oddly even it out. Chara’s vocals were up in down, one minutes her vocals are breathy but smooth and then the next its likes she’s trying to break mirrors. I find this song endearing though and it has a bit going for it to keep it interesting, I just wonder how the original version sounds, if there is one.

The next track on the album is the sparkly Shimashima No Bambi. This is a really interesting song, that I’ve never really paid attention to. The arrangement is rather sparkly and gives off a very dreamy atmosphere, I thought it was nice. Chara’s vocals are quite fitting, I mean I really love her voice, when used correctly. The high and breathless rasp of her voice really brought a hazy flow to this song that was rather relaxing. This was a good listen.

The next track on the album is the airy Atashi No Namae Wa Obaka-San. This was a pretty dull song and I was sitting wondering when it was going to end. The arrangement is pretty forgettable, it played like air, seriously. I think I heard some chime like sounds every once in a while, but who knows? Chara’s vocals were quite pathetic in this, I mean her voice sounded so bored most of the time and then when it didn’t sound like she had better things to do, she would go high for some strange reason and her voice would just strain. It was crazy. I mean this song could have played like the previous track, but its just impossible.

The next track on the album is the slow-paced Time Machine. I’ve heard a handful of songs with this title and all have been good so far. This track sounds very familiar, I mean it really does sound like one of her other songs, arrangement and vocal wise. I mean its a slow and rather somber drum piece that it very consistent and from what I heard it doesn’t change pace. Chara’s vocals sounded windy, yes they had that breathless rasp but she really sounded like she was singing in the wind or something. This is a long song, but it doesn’t feel long, but you do notice that its long. I like how it went out.

The next track on the album is the mid-tempo Katte Ni Kita. This is one of those songs that seem to come out of nowhere, and plays like straight filler. I mean, this song is pretty good so it hardly matters if its filler or not, but it does just seem to pop up out of nowhere. It just plays like a random insert song. The arrangement was pretty basic, but it definitely worked and Chara’s vocals were pretty good, she seemed really into the song, so that made it more enjoyable of a listen.

The next track on the album is the odd Doko Ni Itta N Darou Ano Baka Wa. This is a really odd song as it sounds so different from everything I’ve heard so far on this album. The arrangement is so carefree and seemed so throw-back to perhaps the seventies–I mean this accompanied with Chara’s rather casual and really nice on the ears vocal performance, made me think of driving in my car with the roof down on a mildly sunny day. It gives you this kind of, ‘forever young’ type feeling. Its really nice.

The next track on the album is the somewhat down-tempo Watashi Wa Kawaii Hito To Iwareta. This song is pretty long-winded, but I like it. The arrangement consists of a keyboard which made the song sound very windy and a bit electronica and then there was synth, maybe drums, I’m not really sure. I mean the arrangement is pretty bland, but for some reason it works. Chara’s vocals were decent, though she did sound like she was tired. The chorus makes this song though.

The next track on the album is the surprisingly good Junior Sweet. I am not a fan of Chara’s title tracks, I’m really not. This one on the other hand is pretty good. The arrangement seemed dated and muffled or maybe its just me? It really suits the atmosphere of the song though and makes everything seem surreal. Chara’s vocals were as breathy and raspy as usual, but tolerably so. I love the, ‘i’ll be there’ parts of the chorus. Oh, this song is long, over six minutes long. I didn’t really notice that fact, not too much anyways.

The next track on the album is the rather sad Hana No Yume. This is a beautiful song and that may seem strange, but while listening to this I literally stopped all activity completely and just listened. The arrangement makes you think of waves lapping against the shore in a haze of black in white, its quite gorgeous. Chara’s vocals were perhaps the best thing about this song, the way her voice went so breathless and melancholy nearly brought tears to my eyes. I was actually amazed by her vocal performance in this, I’m wondering how she managed to make her voice whisper so perfect like. It really sounded like the wind was singing. This is a surprising song that clearly blew me away and it didn’t do much of anything. It could possibly become one of my favorite Chara songs, it just speaks to me in a way songs rarely do.

The second to last track on the album is the half and half Ai No Kizuna. Uh… this song seemed a lot longer than it actually is. I don’t know, I want to like this song but it seems so impossible. I like the arrangement, sounds a bit classical if you want to look at it that way and I found myself focusing on that more than the actual song. Chara’s vocals are wonky, I just didn’t understand what point she was trying to make. Then at the end it all goes to the dogs when she does all this ad-libbing and other stuff that just had me scratching my head. Its not a bad song and maybe with another listen I might actually find myself leaning more towards liking it, but its unlikely–this song just seems to play all over the place, pointlessly.

The last track on the album is the outro Setsunai Mono. This was quite gorgeous especially the piano arrangement, I actually wish she would have stretched this out into a full song–nice ending to the album.

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

Chara’s fifth album Junior Sweet is surprisingly good. I’m really quite surprised at how good this album turned out to be. I was tempted to give it an A, but there you go. I thought Chara did a nice job variety wise with this album, it doesn’t seem very memorable but you’d still find yourself enjoying it on full album play throughs and wondering why you don’t listen to certain songs regularly. ‘Miruku’ is way stand-out I love that song and what a great start to the album, also ‘hana no yume’ which really took me by surprise, that’s definitely one of my new favorites from her. I’ve given this album extra points for having a title track that I could actually tolerate, since I’m not really a fan of Chara’s title tracks. Junior Sweet is a good listen and quite possibly one of her best albums.

Emyli [Day by Day] (5th Single)

Day by Day
Shake the Habit

Emyli’s 5th single starts off with the a-side Day by Day. I’ve never particularly liked this song, but during this listen I found myself leaning more towards liking it and then I listened to it again. This song is really just fail and its disappointing because this could have been a good song had it been executed correctly. Emyli’s vocals are strain city, but that’s really not the problem, the problem is the rather tacky, clunky and generic arrangement. I mean did no one care while it was being put together, it just made the song very annoying. Emyli’s vocal performance in this track was also quite odd, she went from forcing herself to sing, to quite natural singing even managing to sound a bit like the 90’s Mariah during a certain ad-lib towards the latter half of the song, it really blew my mind. This song is just very hit or miss and I’d have to say its a miss for me.

The next track on the single is its b-side Shake the Habit. The b-side should be the a-side, because it plays a whole lot better. Its boasts a better arrangement and vocal performance. The rnb of the track is obvious, but I liked the attitude Emyli exuded in this, the chorus standing out and the arrangement actually carrying the song.

-GRADE: C
Rating: * star

Emyli’s 5th single Day by Day is pretty underwhelming. Day by Day is just over four minutes of absolute confusion and should have been relegated to a b-side or better yet nothing at all. Emyli’s all right vocal performance couldn’t save this song from being annoying and unmemorable. Shake the Habit is a lot better, because it comes at you harder than the a-side, but its not all that memorable either, though it would have made a better a-side.

Bonnie Pink [Golden Tears] (Seventh Album)

So Wonderful
Paradiddle-free
Coast to Coast
Addiction
Mirror
Nichi Nichi So
Robotomy
Monster
Rise and Shine
Cotton Candy
Nocturne
You Got Me Good
Believe

The album starts off with the feel-good So Wonderful. This has to be a summer song, if its not, somethings wrong with me. The arrangement is so lively and refreshing in a sense, it gives one the feeling of being on the beach, splashing in the water with the sun glaring overhead. Bonnie’s vocals were nice, but she sounded muffled to me for some reason, it was almost like she was having such a good time that she couldn’t stop herself from laughing, like laughing and singing at the same time. I’m not holding that against her, its good to know she enjoyed recording this, as I enjoyed listening to it. I mean the song is pretty weak, but I like the whole carefree vibe of it, even if: ‘you’re soak and wet, so wonderful!’ doesn’t make any kind of sense. I mean he’s wonderful because he’s soak and wet?

The next track on the album is the calm Paradiddle-free. Ah, Rie Fu’s a master at calm songs, but its just something about the way Bonnie does them that makes them play so nice that you want to loop them so they’ll play forever. I have no clue what ‘paradiddle-free’ means, but if everyday was like it, I’d never worry about a thing. The arrangement is a mellow drum and bass that fits and plays so good on the ears. Bonnie’s vocals are laid-back and fitting. I also like how her vocals rose a bit during the chorus. This song is quiet and only a select few will really enjoy it, I’m certainly one of those people.

The next track on the album is the light Coast to Coast. I use to really dislike this song, but I think it has finally after so long, grown on me. The arrangement is really simple, but it definitely gives off that coast feel and it makes the atmosphere rather relaxing. Bonnie’s vocals are simple as well, I love how she chose to sing this song, not doing too much or too little. I use to think her vocal performance was so dead and boring in this song, but she sung it just right. I still don’t too much care for this song, but its a nice listen every once in a while.

The next track on the album is the hazy Addiction. Oh, I’ve never really paid attention to this song, like never. The first time I actually really listened to this track I remember thinking: ‘why do i never listen this?’ the arrangement is very druggy, as in everything about it is so appropriately sluggish, yet crisp and it really does give you this addiction type of feeling. Bonnie’s vocals manage that as well especially when we get to the chorus and she says: ‘its called addiction’ this song is really neat. I didn’t too much like the, ‘la,la,la’ taking the song out, but it fit in well enough.

The next track on the album is one of my favorites, Mirror. I really do love songs like this. The arrangement is pretty simple, but its fitting and nice on the ears. Bonnie sings this song in full English, a lot of the time I had no clue what she was saying, because it seemed like she was just saying things, but I thought her vocal performance was genuine. I love the: ‘i am who i am, can you be yourself right next to me?’

The next track on the album is the somewhat mid-tempo Nichi Nichi So. This is one of those songs that go completely over your head, but I’ve always found that I liked it. I’ve noticed however that my love for this song is beginning to fade, because it offers nothing. The arrangement is quirky, I keep thinking harpsichord when I hear those strings? It makes me think of green grass for some strange reason. Bonnie’s vocals are fine, though the verses are a bit on the unmemorable side, the chorus more than makes up for that by being rather catchy. I always wonder if she’s saying: ’say good-night daddy, take it real slow’ …hmm?

The next track on the album is the boring Robotomy. This is a pretty dull song and I listened to it twice to make sure. I’m not sure what Bonnie was going for, but I don’t think she hit her mark. The arrangement was some sort of stagnant and plain drum piece and then her vocals were decent, but I don’t know, she wasn’t making any kind of sense. I guess she was singing in English, but all I caught was: ‘bible’ or something, it was like she was saying a whole bunch of nothing and I was waiting for the song to go somewhere and it really never does.

The next track on the album is Monster. This is a song that I’m fond of, even if it doesn’t seem to go anywhere or do anything that we haven’t already heard from her. The arrangement is similar to the previous, the main instrument being the drums, but I heard the cymbals more than anything. Its plain and doesn’t do much, but its effective. Bonnie’s vocal performance was pretty good in this, she seemed to be into the song, though the best and most memorable part is the chorus: ‘ i created a monster…’

The next track on the album is the mid-tempo Rise and Shine. I always think this song is going to be more mellow than it is. The arrangement is synth and it makes it sound a bit computerized, but the beat pounds into you in such an unobtrusive way so its nice and different. I liked Bonnie’s vocals in this, casual but with enough edge to match the arrangement. I like the whole flow of this slow, it always seems to take me by surprise.

The next track on the album is the moody Cotton Candy. This is one of the first songs by Bonnie I ever heard and not only that its one of my favorites and one of her best. The arrangement is pretty dark, I just adore the drums because they create such a climactic atmosphere within the song that brings a lot of depth to it. Bonnie’s vocals seem to reflect it, she sings low on some parts and then her voice rises and the whole effect is just so very engaging. This is a really good song and I wish she would have released it as a single.

The next track on the album is Nocturne. I really like the title, nocturne is just such a gorgeous word. I always expect this song to be more down-tempo than it is, but I’m actually quite glad that its not. The arrangement is very interesting in a sense that there’s more to it than meets the eye and it gives off a distinct nightly feeling, if that makes sense. Bonnie’s vocals are nice, I didn’t have a problem with them. I love the chorus, all around good song.

The next track on the album ups the pace a tad with You Got Me Good. I always find Bonnie’s up-tempo tracks a bit awkward, but she seems to always manage to pull them off. This isn’t up-tempo, more around the mid-tempo range. The arrangement is a bit interesting and fitting, funky in a sense. Bonnie’s vocals were as they always are: good. This song stands out because of the chorus, otherwise it would be a pretty forgettable track.

The last track on the album is Believe. This song really brings back memories as its one of the first songs I ever heard by her and it certainly sticks out despite not being all that memorable. The arrangement is really nothing I haven’t already heard, its fitting but its not very interesting. Bonnie’s vocals are decent, but she didn’t bring much to this song vocal-wise. This track comes across as very boring, but I like the ‘believe’ of the chorus and its pretty inspirational if you look at it in that way. Its a somewhat nice ending to the album.

-GRADE: B+
Rating: **1/2 stars

Bonnie Pink’s seventh album Golden Tears was a good album, but that’s really no surprise. It seems like such a long time ago when I was just getting into Bonnie Pink and this album came out, I was so excited for it, because then I loved every song from her. My favorite Bonnie Pink album is Present and though I like the title and most of the songs on this album I’ve never really cared for it or even paid much attention to it. This is a nice quiet album that should be listened to by all fans and even non-fans of Bonnie, but I have to say it offers nothing we haven’t already heard and that in turn makes it very unmemorable. I wanted to rate it higher because it does have some really good tracks the stand out definitely being Cotton Candy, however, I can’t be bias even if she is my favorite JPop singer. Golden Tears still offers some great tunes though, despite playing like all the rest.

alan [RED CLIFF ~Shin Sen~ (RED CLIFF~Heart War~)] (6th Single)

RED CLIFF ~Shin Sen~ (RED CLIFF~Heart War~)
Xin Zhan ~RED CLIFF~
Ashita e no Sanka ~Orchestra Version~

alan’s sixth single and fourth in her five elemental release saga is the a-side RED CLIFF ~Shin Sen~ (RED CLIFF~Heart War~). It represents fire. Ah, so this is what all the hype surrounding alan was about. I must say this song right here certainly justifies it. I’ve been giving alan a hard time, but if her first three elemental singles had played like this, I would have had no reason to complain. This song is epic incarnate. Did I get a fire like vibe from this song? Not really. Though, that hardly matters because this is one great song. The arrangement was perfect, it created a dramatic and rather intense atmosphere and surely carried this song as well as alan’s vocals. This is quite possibly the best vocal performance I have heard from her, it was rather grand. I was so impressed by her tones that I literally stopped what I was doing an just listened completely absorbed. Then the infamous mountain note she hit as where in ‘longing future’ it sounded weird it fit right in here, I was nearly stunned. I mean I was waiting to be blown away by alan, after so many rave reviews I was wondering why I was so unimpressed, but this song has made me second guess myself in concerns to her. This is a great song, its quite possibly her best so far.

The next track on the single is its b-side Xin Zhan ~RED CLIFF~. Its the same song only in alan’s native Chinese. This is good of course, but surprisingly I like the Japanese version a lot more.

The last track on the single is Ashita e no Sanka ~Orchestra Version~. This is really long, but it never really felt long and that was a plus. I won’t go into too much detail with this (i’ll save that for when i  review the single), I’ll just say this is a pretty good version of the already good original. The only problem I had was that sometimes while she was ‘mountain’ noting she kind a sounded like she was whining, but otherwise she gave forth a good and rather powerful vocal performance.

-GRADE: A
Rating: *** stars

alan’s sixth single RED CLIFF ~Shin Sen~ is the best I’ve heard from her since Hitotsu. RED CLIFF ~Shin Sen~ is just epic and a pure orgasm of the ears. The Chinese version is good as well, less epic though and way more dramatic. The orchestra version of Ashita e no Sanka was also pretty good, but I just didn’t like how she sounded like she was whining during the chorus. This is an all around solid single though, one of her best.

BoA [MADE IN TWENTY (20)] (Fifth Japanese Album)

Lady Galaxy
七色の明日~brand new beat~ (Nanairo no Ashita ~brand new beat~) (A Tomorrow of Seven Colors ~brand new beat~)
Winter Love
STILL.
SO REAL
KEY OF HEART
OUR LOVE ~to my parents~
no more make me sick
Revolution-code: 1986-1105 feat. RAH-D
Your Color
Prayer
Candle Lights
Gracious Days
LAST CHRISTMAS
Winter Love (Live ver.)

The album starts off with the thumping Lady Galaxy. This is a song I never really expected to like, but it grew on me pretty quick. The arrangement is really infectious, I mean it really sounds like she’s in space, and I love how when she talks it sounds like she’s speaking over an intercom, it was very creative. It also kept the song interesting, engaging and fun as well. BoA’s vocals were pretty good in this, I really liked the chorus, it was rather catchy. I hated the bridge, ‘use your imagination…use your imagination’ its just all so corny. I also don’t like how this song is just so short, its like you barely have time to enjoy it because right when you get into it, it seems to just end. This was a good opening to the album though.

The next track on the album is the vibrant Nanairo no Ashita ~brand new beat~. I can not believe people were branding this song, ‘bland new beat’ I mean how can you not like this song? I love it to death. It reminds me of a more tamer version of Shine We Are! and when it plays it fills the room with color and makes me content with life. I love the arrangement its so wonderful and just makes you think of hanging with your close friends and just being silly and having a good time with each other. Its so sparkly and nice. I really adored BoA’s vocals in this song, especially during the bridge and when she starts ad-libbing towards the end. Ah, this song is so special, I never get tired of hearing it!

The next track on the album is the dull Winter Love. I’m sorry but this has gots to be one of the boring-est songs I have ever heard in my life. I mean, every time I hear this song I just go into such a daze because it is just so impossibly boring. It goes absolutely nowhere, the stale arrangement (which does give off a winter-like feel) nor BoA’s strained to death vocals. I don’t understand why people like this song, its really just the dullest. Yawn.

The next track on the album is the down-tempo STILL.. This song isn’t down-tempo per say, but its somewhere along those lines. The arrangement is rather smooth, I want to say rnb so bad, I mean it is, but like a very light rnb, which is so rare coming from BoA, well the Japanese music side of BoA. It was nice. BoA’s vocals were very casual, really flowed well with the music. I mean this song can seriously go completely over your head but it has a nice chorus and the arrangement shines.

The next track on the album is the mid-tempo SO REAL. I always confuse this and ’still’ with each other, because they seem very similar to me. The arrangement for this song is like a lighter version of the ‘lady galaxy’ arrangement, as it sounds very space-like. Its a bit different, but nothing memorable. BoA’s vocals were nice, I liked her voice most during the chorus, she seemed to get into it a bit even if she did sound like she had a slight cold. This song offers a taste of rnb, but manages to play so plainly. I still like it though.

The next track on the album is KEY OF HEART. This is another good song from BoA that seems to get no love. I mean I’ll admit, it offers nothing we haven’t already heard from her, but I like it because its just so care-free and really embodies a special type of love. The arrangement is very fresh and seems to wash over you in such a soothing way, but it also carries a sadness to it that is very captivating. I really liked BoA’s vocals in this song, the slow somber way in which she sung the verses and then the rush of the chorus and the highness of the ad-libs, I really like this line: ‘i’ve been in love too hard’ I wonder if that’s what she says though? Anyways, I like this song. However, I like the Korean version more… the Korean video to this was also world’s above its Japanese counterpart.

The next track on the album is the down-tempo OUR LOVE ~to my parents~. This song really reminds me of her Korean song ‘my prayer’ these two songs are really quite similar. Japanese-wise, I’ve never really heard a song quite like this from BoA. The arrangement is pretty plain, it has a taste of rnb well, its actually quite rnb-ish and though its nothing memorable it does go with the whole flow of the song. BoA’s vocals were good in this she kept it simple with deep and or low vocals and she really pulled it off. I liked the chorus, but I thought BoA could have put a bit more into this song, other than that its a nice and pretty emotional listen.

The next track on the album is the somewhat mid-tempo no more make me sick. Its a relief to finally hear something a bit different and I like how experimental this track is. The arrangement is pretty tech-ish, it makes me think of the dark though. Its all right, but nothing overtly interesting and it did kind of go with the song. BoA’s vocals were interesting, I really liked it during the chorus and the: ‘no more make me sick’ it was good to hear BoA playing with a new sound, but she still has a ways to go. I really like this song though.

The next track on the album is the up-tempo Revolution-code: 1986-1105 feat. RAH-D. This is definitely one of BoA’s strangest titles, if not the strangest, because it seems to carry no meaning but I’m quite sure it does. I stumbled upon this song on accident, I was suppose to be listening to ‘did u’ by Namie but ended up listening to this, I didn’t like it. I then listened to it on the album and found that it wasn’t a half bad song, it was actually pretty interesting and with some bass can actually get you up and moving.

The next track brings the pace back down with Your Color. I have never too much cared for this song, but it certainly sticks to my memory banks longer than winter love its a ballad of course, but its not a very interesting one. The arrangement is appropriately slow and mood setting and BoA’s vocals are all right if not a little underwhelming for a song like this. I mean it doesn’t ask for much, but her vocal performance did seem a bit weak especially compared to ‘OUR LOVE ~to my parents~’ I also thought the song was a bit awkward, which made everything a little strange. I still like this song though, considering.

The next track on the album is the clunky Prayer. I have never liked this song, at least I don’t think. I don’t like how I keep thinking this song is down-tempo, but its actually mid-tempo–though it plays like it should be up-tempo. This song is quite average and mediocre. I really hate how awkward and generic the arrangement sounds, its really bland. BoA’s vocals are a bore and she sounds just as awkward as the arrangement. This is one uninteresting song that should be interesting but just fails in that regard because it offers nothing and leaves your mind as soon as it ends. It also sounds quite filler-ish and random.

The next track on the album brings the pace back down with Candle Lights. After the lack luster last track I was grateful for a soothing slow jam. BoA has plenty of ballads and several of them are pretty damn good, this one is kind of in the middle. I really like the arrangement, the plucking of the guitar really gives off a very intimate setting and feeling and it brought meaning to the title. BoA’s vocals were decent, but I did feel as if she could have done a bit more, this song just doesn’t stand out as much as it should. This is a lot better than ‘winter love’ but even so, its still pretty unmemorable. I like it though, its all right.

The next track on the album is the feel good Gracious Days. I absolutely adore songs like this, I just can’t get enough of them. This track always reminds me of Ayu’s ‘beautiful day’ they both have the same vibe. The arrangement is clear, crisp and very nice on the ears. BoA’s vocals are just love, I mean it wasn’t a knock out vocal performance but I thought she did a good job with it. The chorus is the high light, I just love how it makes you want to smile truly. This is a wonderful song, I really wish more artists would come out with ’sunshine after the rain’ type songs like this.

The second to last track on the album is the bonus LAST CHRISTMAS. I’ve always liked this song and I listen to this Christmas song from her more than I listen to ‘meri kuri’ BoA’s English is questionable (I always think she says ‘with a fly in his heart’ but I think she’s saying ‘with a fire in his heart’), but I thought she did a pretty good job.

The last track on the album is Winter Love (Live ver.). I’m not sure why BoA felt the need to add a live, but I like this song even less now… thanks BoA.

-GRADE: B
Rating: ** stars

BoA’s fifth Japanese album MADE IN TWENTY (20) was a good album but compared to OUTGROW its definitely a step down. I really liked this album when it first came out, for some reason it just seemed a bit different to me compared to her previous Japanese albums. I guess that was because this was the first time I actually heard some form of rnb on her J-albums, even if it was a bit watered down and unmemorable. This album plays like all her previous albums, just a bit more on the average and mediocre side. I never really have a problem with BoA’s album openers and ‘lady galaxy’ certainly was a lot more bearable than ’silent screamers’ the up-tempo tracks though oddly seemed to lack that ‘oomhp!’ that they’ve always had and in turn played more like mid-tempo. ‘Brand new beat’ and ‘key of heart’ are still very stand-out considering. BoA’s down-tempo songs were a bit on the boring side, normally BoA has some very good ballads but the way these played really just drags you way down. ‘Our love ~to my parents~’ was pretty good and so was ‘candle lights’ in a sense, but the others are pretty dull, the most glaring being the snore-fest that is ‘winter love’ I’m not sure why, but this album seems pretty unmemorable, I mean it just plays like one of those things lost to time in forgotten. I guess this was the start of BoA’s disinterest in her music career and that disinterest certainly shows. MADE IN TWENTY (20) has some good authentic BoA tracks, I really loved ‘no more make me sick’, ‘gracious days’ and even ‘last christmas’ I’ll also give this album props because it definitely played better than THE FACE. Still, its a bit disappointing. This album offers nothing we haven’t already heard from her and better at that.

Utada [Come Back To Me] (U.S. Release) Review+Rant

Come Back To Me

I wish more J-artists would try to pursue a career in the States, most notably: Bonnie Pink, Crystal Kay, Lena Park, melody., double and Shimizu Shota. I haven’t been too enthused with Utada’s established English career, its been pretty disappointing. Precious is one of the worst albums I have ever heard, Asian or otherwise and Exodus though a zillion times better still didn’t really do much for me. When I heard that Utada was giving it a third try (why do people tend to always overlook that Precious was her first real solo release album-wise and an English album at that?), I was a bit wary. Hikki has the right type of voice to catch the American ear, but she seems to be doing it all wrong.

BoA may not sing or sell better than Utada, but she does one up her in one thing: dancing. BoA can sing and dance, Hikki can just sing, meaning that’s really all she can rely on. BoA’s a bit more appealing over on this side because of her dancing and she has a more mainstream and youthful image. Music-wise though, Hikki is light years ahead of her and with the right song she could definitely top the charts. Is Come Back To Me that song? Sadly, no. R&B (hip-hop) may be the highest in sells over on this side of the world, but honestly a lot of good talent gets overlooked, a huge example would be Keri Hilson she’s a song writer who makes great music, but her solo material is just slept on and its really unfortunate. I believe that’s where Hikki lies, she makes great music, but English wise, no one really cares.

I was hooked to this song from the very start, I’ll readily admit that. The piano opening the song sounded so Donny Hathaway ’singing this song for you’ and well that’s one of my favorite songs of all-time. It has an engaging flow about it, that really just snags your attention and makes you move your head another plus is that Hikki is talking about a relevant and widespread issue: broken love. You want him back, but too much has happened and ‘why should i forgive you?’ and it just leaves you with this sort of desperation. I love when she sings, ‘baby come back to me’ I mean you can just feel it and you’re compelled to just sing along with her, because you’re feeling everything she is saying. The best part of this song is without a doubt the bridge it was just love and I was sold, so much emotion and feeling: ‘baby take it easy on me…’.

This song is something a lot of girls can relate to, so I doubt it will be entirely ignored. I mean I’m almost positive a few people will be rocking this and I’ll most definitely be one of them. This isn’t a great song, in fact its quite average and cliche and she doesn’t come as strong vocal-wise as she could of, but I still find it a good listen. I’m rather glad she’s decided to return to her rnb roots and I’m not being biased either, Hikki really does rnb well, rnb and experimental and I’m hoping to hear a little bit of both on her upcoming English album. I doubt this is going to jump start her career in the States, because in all truth, Utada is just Utada, you either like her or you don’t, she’s not the type of person who’ll go all out to try an impress anyone. I just think she wants her voice to be heard over here and well, I can hear it. I wish her all the luck, she’s great.

-GRADE: B
Rating: ** stars